North Korean Sui And Tang Dynasties Into Huasu Tombs Image Of Culture And Aesthetic Study

Since twenty century, Shaanxi, Henan, Ningxia, Gansu, Shanxi and other provinces newly discovered nearly twenty graves about migrate Sogdian and unearthed some funeral utensils such as stone couch, stone house or stone coffin. Together with the funeral utensils loss of both at home and abroad, the total number of known stone funeral coffins of migrate Sogdian in the north Sui and Tang Dynasties are near20. The pictures on the surfaces of stone coffins are informative, finely carved and luxury decorated, which are distinctly different from the grave pictures of the Hans in the same period in terms of cultural style and artistic taste. From the archeological discoveries in the hometown of Sogdian, including pictures of ossuary, temple and dacha, we can have a deeper research on the pictures in graves of the migrate Sogdian.Based on the basis of comprehensive collecting and absorbing into the pictures in graves of migrate Sogdian and the related research achievements, this article multi-levelly demonstrates and interprets the pictures in graves of migrate Sogdian in the Sui and Tang Dynasties by the way of image interpretation, mutual proofs, content, form dichotomy, statistics, quantitative analysis method, synthesis method and so on many kinds of research methods. For the first time, the article interprets the known pictures in graves of migrate Sogdian from an overall perspective in terms of picture content and picture form and makes thorough research on these two aspects.The first chapter makes statistical analysis and clarification of known pictures and picture programs based on the order of the Northern Qi, the Northern Zhou and Sui Dynasty. This chapter attempts to make a recovery of the stone coffin in QingZhou, which lay the foundation of the following chapters.The second chapter to the fifth chapter is about researches on picture content. The theme of the second chapter is funeral customs and death concepts. This chapter makes detailed explanation of the change in bury customs and death concepts, as well as technical expressions, characteristics and concepts of the portraits of the tomb owner, which infers that Beast(Wei Shou) is Wu Huo of Chinese tomb art tradation.The theme of chapter3is religious culture and concepts. This chapter makes detailed research and discussion of cultural origin, image rheology, symbolic meaning and function of Zoroastrianism art (including fire alter, flamen, God of Zoroastrianism, patron saint, flying, Senmurv and Kara.Chapter4and Chapter5talk about music for art, daily life and the material culture. This chapter is to read back the cultural sources and to explore the implication of ideas and aesthetic interests of pictures about music and dance occasions, band, types and characteristics of dance, the wine culture, costumes, architecture, hunting, and fight.The first section to the third section of chapter6is about the researches on picture form. These sections discuss the art features and aesthetic ideas from the aspect of formal beauty layout and composition of a picture, simple sense, techniques, color and decoration pattern.The fourth and the fifth section of chapter6comprehensively research the picture content and form. These two sections divide the research into four part:daily life, Sabao,a favourite at court, about funeral, Zoroastrianism. The sections classify the cultural picture origin of the Sogdian, Chinese, Turks and Persian. Meanwhile, the two sections explore the acceptance of migrate Sogdian’s culture characteristic and aesthetic culture.The conclusion chapter analyzes and presumes the historical reasons of graphical expressions of the unique style of the migrate Sogdian. There are three reasons in the following:the historical process of the Sogdian migrate into China, the historical conditions and political situation of the north Sui and Tang Dynasties, the economic conditions and political status of migrate Sogdian.