Investigation Of The Lunar New Year Decoration Image Of The Tang Dynasty. Guanzhong Area

The content of Epitaph text has always been an important historical materials of studying ancient history and culture, and the ornamentation pattern carved on the epitaph stone is preferred by the researchers for its irreplaceable cultural and artistic value. These ornamentation patterns on epitaphs stone not only reflects the ideology of a particular era, cultural values, funeral customs, religious beliefs and artistic standards, but also show different changes because of the tombs of different levels and geographical situations. This essay study the features and evolution of Zodiac decoration images on Epitaph in Guanzhong region.Epitaph is the most popular carrier of funeral culture. Guanzhong region, the Capital City of the Tang Dynasty, is the most typical region which reflects the mainstream culture. Zodiac ornamentation is widely used on the basic pattern of stone epitaphs. It emerges in Northern Wei, is popular in the Sui and Tang dynasties, not only bearing the basic heritage of their own styles but also updating with the developping of the eras, so their system will undoubtedly have important theoretical significance and practical value. The essay is based on the catalog of unearthed epitaphs revealed in Guanzhong region of the Tang Dynasty. It selects the representative pattern of nearly200cases of Zodiac decoration and makes a summary. It starts with direction of the three aspects: the associated image of Zodiac decorations, the combination of images of Zodiac decorations, the evolution and the sequence of Zodiac decorations. It investigates the variation of the Zodiac ornamentation in the different periods of the Tang Dynasty, such as semi-human form of the animal prototype, the evolution of semi-animal human and the humanoid of the image. It also study the evolution of the image of mountains and trees associated with Zodiac decorations, such as pots doors, seats, etc.. Besides, it also inspects the basic rank, inclusive direction as well as a few confused situation of the painted and carved Zodiac decorations. In addition, in order to witness the formal specificity of remote regions in the Funeral cultural practices and artistic expression there is a special chapter that explores the difference of Zodiac decorations in the epitaphs between Guanzhong area and Yulin area in the same period.This article focuses on the use of the Fine Arts, iconography, archeology and statistical methods such as plates and charts to illustrate the problem, thereby strengthening the reliability and scientific nature of the argument. It tries to establish a good way to comparative study of decoration of the four gods, auspicious animals, flowers and other images on the epitaphs.