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20世纪中期以来,随着不断的唐代墓葬考古发掘,为明确地认知唐代绘画的时代风格及其流变形态提供了可靠的实物证据。唐代墓葬形制是唐代贵族文化及审美取向的体现,特别是作为贵族至高身份显现的石椁墓,不但集中于关中地区,亦是唐代级别最高的墓葬。因此,在时序相对完整的初唐至盛唐29座石椁当中,以19座石椁作为载体的人物线刻,代表了这一百多年间唐代人物画的主流形式与风格变迁。
Since the middle of the 20th century, with the continuous excavation of tombs in the Tang Dynasty, it has provided reliable evidence in kind for explicitly recognizing the style of the Tang Dynasty paintings and their rheology. The tombs in the Tang Dynasty represented the culture and aesthetic orientation of aristocrats in the Tang Dynasty. The tomb of tombs, which emerged as the highest aristocrats, was not only concentrated in the Guanzhong area but also the tomb with the highest level in the Tang Dynasty. Therefore, in the relatively complete sequence of the early Tang Dynasty to Tang Dynasty, among the 29 stone sculptures, the line engraving with 19 stone sculptures as the carrier represents the mainstream form and style changes of the Tang Dynasty figure paintings during this one hundred years.