| As a word and concept which derived from traditional historical and cultural context in ancient china,"Tianxia" appears in an embryonic form in Shang and Zhou period. Later this word was also be bestowed with the political and cultural meaning of "The emperor who rules the nations", in the gradually strengthening and construction process of Huaxia(华夏) consciousness and imperial authority society, from the late Eastern Zhou Dynasty to the period of Qin and Han Dynasties. This dissertation places the research topic in the broad background of political and social transformation from the late Eastern Zhou Dynasty to the mid-term of Western Han Dynasty. It uses the diachronic way of writing to analyze systematically how the emperors use the diversified visual arts forms to construct and present the conception of Tianxia by the help of ministers and artisans, in the period of the first emperor Qin Shihuang(秦始皇)of Qin Dynasty to the emperor Wudi (汉武帝)of Han Dynasty. For the period of Qin Shihuang, he could mould the central concept, impressive and dignified manner which link up the heaven and earth, and at the same time he also could reveal the control of Tianxia world by placing standing-stones, construct temporar, straight road, royal road, great wall in the widely empire territory. Besides that, we also could see that the conception of presenting and possessing Tianxia world partially in the way of setting up some special man-created landscape such as accessory pit K0007(K0007陪葬坑)in Qinshihuang’ Mausoleum.Furthermore, the study also points out that the emperors in the early Han dynasty have the cognitions of Tianxia, they also showed this conception through the way of creating some visual arts by the help of ministers and artisans. This case changed along with the emperor Wudi’s enthronement. The dissertation then discuss how the emperor Wudi presented the idea of Tianxia through building up Shanglin imperial park (上林苑).After analyzing several motives of constructing Shanglin imperial park by Wudi, the research in the dissertation shows that some crux artificial scenery such as Kunming pool (昆明池),Taiye pool of Jianzhang palace(建章宫太液池)which were built up diachronically by Wudi in Shanglin imperial park showed his thought of "All under heaven are of one family" and "all over the world".It needs to be specially noted that the dissertation also treats the historical course by which some images of worship reflected the conception of cosmology utilized by emperor in this period, showing these images were also transformed into the conception of presenting the emperor’validity and morality in the imperial authority society. Besides that, the Nanyue Kingdom(南越国)which is located in the boundary of imperial domain also could express and covet the ideas such as Tianxia, country with the visual arts veiledly. In a word, all these factors indicate that the image performance of Tianxia had the pluralistic, stereoscopic and regional character. The visual images also had the special value and meaning in this shaping process. It also revealed the nation’s image of Qin and Han Empire in a way. Meanwhile, some visual expression patterns of "Tianxia" conception that derived from this period had also effected the royal of fine arts in later ages to a certain degree. And this thesis also impels us to consider the interactivity between visual arts, politics, religion and thought more deeply. |
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