【作者】 张小军；

【导师】 赵溅球；

【作者基本信息】 浙江师范大学 ， 美术学， 2008， 硕士

【摘要】 汉、唐是中国历史上两个最辉煌的封建帝国。汉的包容、博大、宏放与浪漫,体现出道法自然的质朴之美,为后世艺术树起一座丰碑,开启了石雕艺术“范式”之先河。经历三百多年的历史变迁,唐代雕塑发展为又一高峰,给人庄严、富贵、雄健、刚强之美,表现出人力的伟大和对世界的主观创造。如果说汉是石雕艺术“范式”之“起点”,唐则是将这种“范式”之“定格”,后世艺术创作难出其左右。身处现代,对汉唐之间这种从“起始”到“定格”进行研究,能为我们当以什么样的精神面对生活,面对艺术进行创造提供可鉴之处。一个民族的审美,就是这个民族内在“精神”的反映,通过艺术品这一“媒介”,将精神物化为外在的表象。留存至今的汉、唐陵墓石雕艺术是这种“精神”与“表象”的共同体。那么,反过来,我们就可以丛这一“表象”之中找寻出它历史原本的状态,并将这一状态汇聚为一条蔚为壮观的人类审美历史之河。及此,本论文选取汉、唐两代最具代表性的两座陵墓--茂陵霍去病墓石雕和唐顺陵石雕进行分析比较。以两墓主人的身份为线展开研究,把石雕艺术品按照能够体现皇室审美和民间审美的角度进行分类,再具体到每个石雕的题材、内容、表现手法、石雕纹饰等方面,用艺术考古学方法对汉及唐的审美转变做以纵深的研究考察。按照对后世艺术的不同影响提出艺术范式、艺术程式的概念。结合汉、唐时期的政治、经济、思想、文化、宗教等的发展梳理出其审美变化过程及此过程的演进状况;通过这一梳理及研究过程,对至今还是猜测的茂陵霍去病墓石雕整体布局提出了自己的观点,并在此基础上由对其雕刻手法的分类之中找出其审美特征;并通过图式对比的图像学方法,在与顺陵比较中展现汉至唐的审美之演进过程。除此之外,论文采取文献研究法对考古资料进行搜集、查阅;并结合实地、实物考证,对资料进行线性方法的梳理;在分析研究中,采用比较方法进行分析,包括:历史比较、图象、图式比较,从细微处分析比较出从汉到唐陵墓石雕艺术的发展变化。通过对这一转变过程及它对后世艺术影响的研究,得出:艺术审美没有高低方向上的发展,只有风格的转变;陵墓石雕艺术起始于汉,定格于唐;这一定格是陵墓石雕艺术从范式到程式化的演变;并从汉代与唐代石雕创作的不同过程,找寻出其对今天艺术的创造可供借鉴之处。更多还原

【Abstract】 The Chinese,Tang are in the Chinese history two most magnificent feudal empires.Chinese’s containing,great,great puts with romantically,manifests the magic arts natural plain beauty,has a milestone for the later generation art tree,has opened the stone carving art "the model" the beginning.Experiences more than 300 year historical vicissitudes,the Tang Dynasty sculpture development for another peak,is dignified for the human, riches and honor,vigorous,firm beauty,displays the manpower great and to the world subjective creation.If the Chinese is stone carving art "the model" it "the beginning",Tang Ze is "the model" it "frames" this kind,later generation art creates feels awkward its about.Places the modern age,this kind "frames" to Chinese Tang between "the outset" conducts the research,can for us,when what spirit faces the life by,carries on the creation facing art to provide may place of the warning.A nationality’s esthetic appreciation,is this nationality intrinsic "the spirit" the reflection,through the artware this "the medium",transforms into the spirit for the external representation.Preserves until now Chinese,Tang mausoleum stone carving art is this kind "the spirit" and "the representation" community. Then,in turn,we may Cong Zhei "the representation" in pursue its history condition originally,and this condition gathering is river of the splendid sight human esthetic history.And this,the present paper selects the Chinese,Tang two generation of most representative two mausoleum - - luxuriant mausoleum Huo Qubing grave stone carving and Tang Shunling the stone carving carries on the analysis comparison. Launches the research take two grave master’s status as the line,according to can manifest the imperial family the stone carving artware to be esthetic and the folk esthetic angle carries on the classification,makes concrete again to each aspects and so on stone carving theme,content,expression means that stone carving decorative design in a utensil,does with the artistic archaeology method to the Chinese and Tang’s esthetic transformation by the depth research inspection.According to proposes the artistic model,the artistic program concept to the later generation art’s different influence.Unifies the Chinese,Tang time politics,the economy,the thought that the culture,the religion and so on development to comb its esthetic change process and this process evolution condition;Through this combs and the research process,to the luxuriant mausoleum Huo Qubing grave stone carving overall layout which until now guesses proposed own viewpoint,and based on this by discover its esthetic characteristic to its carving technique’s classification during;And through the scheme contrast’s image study method,in and unfolds the Chinese along the mausoleum comparison to Tang’s esthetic evolution process.In addition,the paper adopts the literature methodology to carry on the collection,the consult to the archaeology material;And unifies on the spot,the material object research,carries on the linear method to the material combing; In the analytical study,uses the comparison method to carry on the analysis, including:The historical comparison,the image,the scheme comparison, compares from the slight place analysis from the Chinese to the Tang mausoleum stone carving art development change.Through to this transformation and it to the later generation art influence’s research,obtains:Art does not have in the height direction development esthetically,only then style transformation;The mausoleum stone carving art date from Chinese,frames Yu Tang;This frames is mausoleum stone carving art from the model to the stylization evolution;And from the Han Dynasty and the Tang Dynasty stone carving creation’s different process,pursues it to be possible to supply to today art creation to profit from the place.更多还原