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汉画像石艺术多为西汉晚期和东汉时期作品,因其载体主要是石祠、石棺椁、崖墓、石阙等丧葬建筑物和礼器,被称为秦汉时期完成的艺术形式和死亡艺术。汉画像石的出现主要是以汉代的“形神观”和“死亡观”为理论支撑。汉画像石描绘的世界大多是“死后世界”是为死者脱离“形”之后的“神”自主活动所营造的乐园,以期完成生前所祈望追求的生命永恒。汉人对丧葬的建筑和画像石所构建的“神”之永恒的“死后世界”的相信程度以及汉画像石艺术对人们祈望的“死后世界”的建构表现出的强大生命力和表现力。本文以汉画像石“现实世界”、“仙界”内容为切入点研究汉画像石所表现的形神观。
Han stone statues mostly for the late Western Han Dynasty and the Eastern Han Dynasty works, because of its carrier is mainly Shishi, stone coffin, cliff tombs, Shi Que funeral buildings and ceremonial structures, known as the Qin and Han dynasties completed the art form and art of death. The emergence of the Han Dynasty portrait stone is mainly supported by the theory of “god outlook” and “death view” in the Han Dynasty. Most of the world depicted by the Han portraits are “Paradise after World” which is a paradise created by the “God” autonomy after the deceased departed from the “Xing”, in order to complete the eternal pursuit of life. The Chinese people’s belief in the eternal “post-mortem world” of the “God” built by the burial buildings and portraits and the construction of “Post-mortem” people’s hope for the stone art of Han Dynasty show The strong vitality and expressiveness. In this paper, we use the content of stone portraits of “real world” and “celestial world” in Han Dynasty as the starting point to study the concept of the form and god of the Han Dynasty stone.