Aesthetic Study Of Han Dynasty Eaves Tiles

Tile-end was first discovered in Zhaochen Site in Fufeng, Shaanxi Province, a site demonstrating the culture of the middle and late periods of the Western Zhou Dynasty. According to the archeological data, Han tile-ends are considered to be the unique treasures in the tilt-end art of ancient China in that they are characterized by the greatest number, the most diverse form and the highest processing quality of all the unearthed ones. They are excavated mainly in Shaanxi, Henan and Shandong Provinces, especially in Xi’an, the capital of Shaanxi Province which saw the greatest proportion. Found in construction sites, kilns, clay pits and graveyards, the Han tile-ends perfectly combine practical utility with aesthetic, function with decoration, where its most precious value lies.Based on the comprehensive related research data and historical documents, this thesis conducts a comprehensive and thorough study into the historical background and aesthetic consciousness hidden behind the patterns of the tile-ends in different periods of Han Dynasty, using such methods as combination of historical documents and literature research, of theoretical analysis and case study, of history data and demonstrating the real tile-ends, and the field trip research. Through the detailed analysis of the historical context of Han tile-ends, the theoretical description of the implied social aesthetic culture and change of aesthetic consciousness, a conclusion can be drawn that Han tile-ends have the archaeological significance as well as the aesthetic value. The latter has been ignored by the academic circles, however, it is chosen to be the very focus of this thesis. As an important component of Han culture, Han tile-ends imposed the far-reaching influence on architecture, sculpture and calligraphy.The framework and main contents of this thesis are presented as following.The introduction gives insights into the current study condition of Han tilt-ends, the academic significance and value of the study on them.Chapter One describes the tile-ends in Pre-Han Dynasties and the corresponding aesthetic consciousness towards them. It reveals clearly the bond between the aesthetic consciousness and. society, history and culture through the study on the interrelationship between Pre-Han tilt-ends and the tilt pieces, ancient architecture, pottery and bronze in the same periods, together with the research on the tile-ends in Dynasties from Pre-Qin to Qin and the related aesthetic consciousness about these tile-ends.Chapter Two sets forth the view that tilt-end is a typical manifestation of handicraft aesthetics influenced by the practical rationality from the following perspectives:the interrelationship between Han tilt-ends and the culture they soaked in and the Confucius thoughts; Han tilt-ends’ development and evolution; their shapes and forms; and the aesthetic images of their decorative patterns.Chapter Three and Four mainly explore such a series of specific topics as the aesthetic meanings of patterns representing nature-worship while the aesthetic meanings of images reflecting Totemism.Chapter Five means to discuss that tilt-end is a particular form of throne-worship after the analysis of various aesthetic consciousnesses of tilt-ends with words in Han Dynasty.The Conclusion Part elaborates clearly that the change of Han tilt-ends is the variation of practical rationality from the perspective of aesthetic consciousness. Meanwhile, it also makes prospects for the further study on Han tile-ends.