發(fā)布時(shí)間：2018-06-10 06:52

  本文選題：唐代 + 墓室壁畫��； 參考：《陜西師范大學(xué)》2016年碩士論文

【摘要】：唐代是仕女畫發(fā)展的高峰時(shí)期,但到現(xiàn)在我們所能見到的直觀展現(xiàn)唐代人物畫真實(shí)面貌的傳世作品很少,多為后人摹本,所參照的底本也多是中晚唐時(shí)期的張萱、周f 所作,并且這些作品沒有明確的紀(jì)年。直到唐代墓室壁畫中仕女形象的大量出土,改變了唐代前期仕女畫闕如的狀況。陜西地區(qū)曾經(jīng)是唐代京兆府雍州轄地,所發(fā)掘的壁畫墓皆為皇室、貴戚、京畿大臣的墓葬。這些壁畫墓,跨越了初唐、盛唐、中唐、晚唐的各個(gè)時(shí)期,多數(shù)墓葬規(guī)格、級別較高,都有墓志紀(jì)年,并且都分別屬于不同級別的官僚貴族,這些墓葬基本可以代表唐代墓室壁畫的整體風(fēng)貌。由于唐人“事死如事生”的思想觀念,使得他們希望將生前的生活搬入陰間。因此,唐墓中的壁畫一般都反映的是墓主生前的日常生活,墓中的女子多為侍奉墓主的侍女。而在這樣一個(gè)大背景下,研究唐墓壁畫中的侍女形象為我們研究唐代女性的生活以及其社會(huì)地位提供了可靠詳實(shí)的圖像資料。唐前期的墓室中大量出現(xiàn)穿著男裝的侍女形象,是當(dāng)時(shí)社會(huì)審美的直觀反映。而這種在中國封建社會(huì)被稱為“服妖”的著裝風(fēng)格,卻是唐前期流行于各個(gè)階層的服飾風(fēng)尚,這在中國歷史上是個(gè)奇觀。自古以來,女性的形象都與社會(huì)的歷史背景有著密切的聯(lián)系,從她們身上可以更直觀的看到當(dāng)時(shí)社會(huì)的文化和思想。女性地位和形象的變化,能直接反映出社會(huì)和時(shí)代的變遷。因此,通過研究唐墓壁畫中侍女著男裝這一特殊的女性形象,有利于我們了解在唐代特定歷史條件下,女性的社會(huì)地位、審美、喜好以及心理等諸多方面的狀況。本文就通過對男裝侍女在墓室中所處位置、人物造型特點(diǎn)、服飾特點(diǎn)等方面,結(jié)合圖片和表格等對該人物形象進(jìn)行細(xì)致的梳理及比較研究,并且從唐代社會(huì)經(jīng)濟(jì)、思想文化、女性地位和女性性別意識等方面來分析產(chǎn)生女著男裝這一特殊現(xiàn)象的原因。
[Abstract]:The Tang Dynasty was the peak period for the development of female paintings, but until now we can see that there are few handed down works that directly show the true face of the figure paintings of the Tang Dynasty, most of which are copied by posterity, and most of the original works are made by Zhang Xuan and Zhou f in the middle and late Tang dynasties. And these works do not have a clear chronology. Until the Tang Dynasty tomb murals a large number of figures unearthed, changed the early Tang Dynasty, the lack of paintings. Shaanxi was once the prefecture of Yongzhou in the Tang Dynasty. The murals excavated were the tombs of royalty, imperial relatives and ministers of Beijing. These mural tombs, spanning every period of the early Tang, the prosperous Tang, the middle Tang and the late Tang, most of the tombs were of high grade, with epitaph chronicles, and they belonged to different levels of bureaucratic nobles. These tombs can basically represent the overall style of the tomb murals of the Tang Dynasty. Because of the thought of "death is life", the Tang people hope to move their life into Hades. Therefore, the murals in the Tang Tombs generally reflect the daily life of the tomb owners, and most of the women in the tombs are the maids who serve the tomb owners. In such a background, the study of the images of maids in the murals of Tang tombs provides us with reliable and detailed image data for the study of the life and social status of women in the Tang Dynasty. In the early Tang Dynasty, a large number of images of maids dressed in men's clothing appeared in the tombs, which was an intuitive reflection of social aesthetics at that time. However, this style of dress, which is called "serving evil" in the feudal society of China, is a fashion popular in all classes in the early Tang Dynasty, which is a wonder in Chinese history. Since ancient times, the images of women are closely related to the historical background of society, from which we can see more intuitively the culture and thought of the society at that time. The change of women's status and image can directly reflect the changes of society and times. Therefore, it is helpful for us to understand the social status, aesthetic taste, preference and psychology of women in the special historical conditions of Tang Dynasty by studying the special female image of maids in the mural of Tang Dynasty. This paper makes a detailed combing and comparative study on the men's women's position in the tomb room, characters' modeling characteristics, dress characteristics and so on, combining with pictures and tables, and from the Tang Dynasty's social economy, ideology and culture. This paper analyzes the causes of the special phenomenon of women's men's clothing in the aspects of female status and female gender consciousness.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：TS941.12;K879.41

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本文編號：2002351