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1、1 分类号：密级：无UDC ：单位代码： 10118 山 西 师 范 大 学研究生硕士学位论文论山西唐墓室壁画艺术韩典亮指 导教 师赵廷仁副教授山西师范大学书法学院申请学位级别艺术硕士专业名称美术学论文提交日期2016 年月日论文答辩日期 2016年月日学位授予单位山西师范大学学位授予日期 2016年月日答辩委员会主席评阅人2016 年月日I 中文摘要I 论文题目：论山西唐代墓室壁画艺术专业： 美术学硕 士 生： 韩典亮签名：指导老师： 赵廷仁签名：摘要本文研究对象为山西唐朝时期墓室壁画艺术，唐朝是中国封建社会的繁盛时期，社会经济文化高度发展，少数民族文化的融合与交流开始呈现日益频繁的趋势，这
2、些都极大地推动了唐朝壁画文化的发展与繁荣，也为我们研究山西唐朝墓室壁画的绘画艺术提供了许多有价值的史料和文献。本文研究唐朝墓室壁画通过从唐朝不同的时期和地域去研究山西唐墓室壁画的发展风格和面貌，并对山西唐代墓室壁画做出归纳和总结。第一个阶段从唐高祖到唐太宗中期，墓室壁画还沿袭北朝和隋代旧制度，研究代表的墓室壁画有三原李寿墓和长安公主墓。第二个阶段是唐高宗和武则天在位时期，这一时期唐代墓室壁画在题材和内容上有了突破，墓室壁画逐渐地走向世俗化。出现了最有研究价值的墓室壁画如山西万荣的薛儆墓。第三阶段是唐皇室西返长安神龙二年到唐玄宗开元十年，这个时期是唐朝墓室壁画繁荣时期以乾陵墓葬为主，展现唐代墓室
3、壁画的最高水平。，这一时期的代表性墓室壁画有懿德太子李重润墓和永泰公主李仙蕙墓。第四个阶段是唐宪宗年间到唐末。通过对唐代不同时期的墓室壁画进行横向和纵向的比较发现，不仅题材上丰富，而且在技法上相对成熟，形神兼备，最终呈现出崭新的具有与唐朝政治、经济、文化社会背景相适应的墓室壁画的艺术风格和特色，至此，山西墓室壁画继承和发展了唐墓室的优势，为我们进一步研究山西唐墓室壁画绘画艺术的风格和艺术特色奠定了基础。整篇文章以墓室壁画研究为主线，本文通对唐代山西不同时期墓室壁画绘画艺术的研究和分析加以概括得知唐朝时期的墓室壁画的发展规律，不仅总结了各个时期的题材内容和绘画技巧、更多的是概括出唐朝的绘画时代风
4、格和时代面山西师范大学学位论文I 貌，也反映出当时的社会风貌及绘画精神对世俗文化的影响，从而对山西墓室壁画线刻艺术的的兴起、发展变化、自身风格的形成等方面都有了较为全面而深刻的认识，不仅丰富了线条艺术的风格面貌和创作意识形态，而且也从中达到理论指导实践的目的。【关键 词】墓室壁画线刻艺术风格线雕艺术线条艺术【论文类型】基础研究英文摘要II Topic:Shanxi of Tang Dynasty tomb mural art Major: Chinese PaintingName: HanDianLiang Signature:Supervisor: ZhaoTingRenSignature:
5、Abstract In this paper, the research object for Shanxi during the period of the Tang Dynasty tomb mural painting art, the Tang Dynasty is a thriving and prosperous period of the feudal society of China, the political culture of the advanced, the prosperity of social economy, cultural spirit develope
6、d, minority culture integration and exchanges began showing a trend of the frequent exchange of. These are greatly promoted the development and prosperity of the Tang Dynasty tomb murals, but also provides many valuable historical materials and documents for the study of the painting art of the Tang
7、 Dynasty tomb murals in Shanxi. In this paper, the division of the Tang Dynasty tomb murals in Tang Dynasty in different periods and places to study the style and development of Shanxi Tang tomb murals of the face, and the Tang Dynasty tomb murals in Shanxi make a summary and conclusion. The first s
8、tage from the Emperor Tang Gaozu to Mid Tang Taizong, tomb murals also followed the Northern Dynasties and the Sui Dynasty old system and Research on behalf of the tomb murals have Sanyuan Li Shou tomb and Changan Tomb of the princess. The second stage is the Tang emperor and Empress Wu reign, this
9、is the Tang tomb murals on the theme and content has been a breakthrough, the tomb murals gradually towards secularization. This period appeared in most of the research value of Shanxi Wanrong tomb murals Xue Jing tomb. The third stage is the Tang Dynasty Royal West to return to Changan dragon two y
10、ears to Xuanzong Kaiyuan years, during theprosperous period of the 山西师范大学学位论文III Tang Dynasty tomb murals in Qianling tomb, showing the highest level of the Tang tomb murals. During this period, the representative of the tomb murals have Esther Lee Zhongrun Prince and princess Li Xianhui of Yongtai
11、tomb tomb. The fourth stage is Tang Xianzong years to the end of the Tang dynasty. Through the different period of the Tang Dynasty tomb murals of horizontal and vertical comparison, it is found that, not only the themes on the rich, and the technique is relatively mature, Xingshenjianbei, is finall
12、y showing new and also has the artistic style and character of the tomb murals and adapt to the Tang Dynasty political, economic, cultural and social background, so far, Shanxi tomb murals of the inheritance and development of the advantages of Tang tomb, laid the foundation for the further study of
13、 Shanxi Tang tomb murals of the art of painting style and artistic characteristics. The whole article to the tomb murals research as the main line, this paper through the research and analysis of the Tang Dynasty tomb mural painting art in different periods in Shanxi and summarizes development law t
14、hat the Tang Dynasty tomb murals, not only summarizes the various periods of the theme and drawing skills, more is summarized the Tang Dynasty painting style and appearance of the times also reflect the influence of the social style and painting spirit of the secular culture, thus Shanxi tomb murals
15、 line engraving art of rise and development, change their style form and other aspects of a more comprehensive and profound understanding, not only enrich the line art creation of the style and features of ideology, but also to practice the purpose of the. 【Key Words 】Tomb murals 、Line engraving art
16、 style 、ine carving art、line art 目录1 目录1绪论 . 11.1 选题研究的目的与意义 1 1.2 本选题的国内外研究动态 1 1.3 主要研究内容及其方法 12 唐朝时期墓室壁画的萌芽和发展. 22.1 初唐时期墓室壁画的概况 3 2.2 中唐时期墓室壁画的概况 33 山西唐代不同时期墓室壁画的艺术特色 43.1 第一阶段，墓室壁画的初始时唐高祖时期至唐太宗中期. 4 3.1.1 长乐公主李丽质墓艺术风格 4 3.1.2 李寿墓室壁画艺术风格 . 5 3.2 墓室壁画的高度发展时期唐高宗和武则天时期 6 3.2.1 薛儆墓室的构造、墓葬形式的艺术风格 6 3.2.2 薛儆墓中墓室上的石刻线画的艺术风格 6 3.2.3 薛儆墓中石雕艺术品的艺术风格 8 3.2.4 薛儆墓石椁线雕作品的艺术风格 9 3.2.5 薛儆墓室壁画整体的艺术风格. 143.3 墓室壁画繁荣时期唐皇室西返长安神龙二年到唐玄宗开元十年. 15 3.3.1 永泰公主李仙蕙墓室壁画的艺术风格. 15 3.3.2 懿德
