The Research On Buddhist Images Of Murals In Tombs In The Han,Wei,Jin,Southern And Northern Dynasties

The research object of this dissertation is Buddhist images of murals in tombs of Han,Wei,Jin,Southern and Northern dynasties.This is the first stage after Buddhism entered China,and it is also the prosperous period of Chinese tomb murals.There are two characteristics of the tomb murals in this period:Firstly,the system of traditional image leads the role.During the Han Dynasty,the images of tombs generally reflected the belief of the mother of the Western King,including the longevity experience of fear death and Cling to life and the rebirth experience of death.After the Han Dynasty,Buddhist image themes were added to the image system of Chinese tomb murals,but the rebirth belief and Confucianism still ran through,and there was no qualitative change due to the change of image themes.Secondly,Buddhist images are precious.In the Han,Wei,Jin and southern and Northern Dynasties,the number of Buddhist images in the tomb murals was not large,which was a phenomenon with special significance in the early stage of Chinese Buddhism.This phenomenon reflects the process of the mutual integration of foreign Buddhist belief and local burial belief,which makes the Buddhist art as a foreign culture produce new ideological factors and the development trend of localization.Therefore,it is of special significance to study Buddhist images in this period.This dissertation is based on the archaeological results of Buddhist images of tomb murals in the Han,Wei,Jin,southern and Northern Dynasties.Under the background of the localization of Buddhist art,it discusses the origin of the development of Buddhist images of tomb murals in China,the overall development of Buddhism and Buddhist art in each period of the initial transmission stage,and the artistic characteristics of Buddhist images of tomb murals.It proves that the Buddhist image of the tomb mural in the Han,Wei,Jin,southern and Northern Dynasties is an important achievement of the integration of Chinese traditional culture and Buddhist art,and also an important practical content of the localization development of Buddhism under the guidance of Confucian aesthetics.The first chapter investigates the origin of Buddhist images in Chinese tomb murals,focusing on four aspects:the origin of Buddhist pagoda images,the origin of flying sky images,the origin of Buddha images,and the time of Buddhist remains in Han Dynasty tomb murals.This chapter mainly discusses the localization process of the Buddhist images in the tomb murals of the Han,Wei,Jin,southern and Northern Dynasties by combing the origin of the mother themes of the Buddhist images,recognizing the religious functions and artistic features of the early Buddhist images.This chapter discusses the artistic characteristics of Buddhism before it was introduced into China.Indian Buddhism was opposed to idols at the beginning of its establishment.The de idolization requirement of Buddhist doctrine made the composition center of primitive Buddhist art lack of anthropomorphic religious idols,and symbols such as "Stupa","Pipul" and "Flying Apsaras" became the center of the picture,which also became the earliest mother themes of Buddhist art.After that,with the development of Buddhism,Buddhist art has changed from opposing to make idols to making a large number of idols.In the Kushan Dynasty,three major schools of Buddhist statues were formed:Gandhara art in the northwest,Mathura art in the middle and Amaravati art in the south,which provided a large number of anthropomorphic idols for Buddhist art.In this context,Buddhism has entered China.From the perspective of archaeological materials,the images of Buddhist mother themes appear in the murals of tombs,and the images of idols are more than those of symbols,which may have a certain corresponding relationship with the eastward influence of the Kushan Dynasty.The second chapter combs the Buddhist images in the tomb murals from the Han Dynasty to the Western Jin Dynasty,starting from the overall development of the Buddhist art on the ground and the development of the basement murals,mainly starting from the archaeological remains of the Buddhist images in the tomb murals from the Han Dynasty to the Western Jin Dynasty,to understand the three efforts of Buddhism and the early spread of Buddhist art in China:from foreign culture to "localization",from the upper class to "Popularization" And the transformation from the Buddhist architecture above ground to the burial ceremony space under the ground.In terms of the investigation of the route of Buddhism transmission,we mainly study the two routes of Buddhism spreading from south to North based on the archaeological achievements.It can be determined by the archaeological results outside the region that the Burmese Road on the south line is not the main way for the introduction of the Buddhist images of the tomb murals in Sichuan and Chongqing.According to the relationship between the shapes and systems of the Buddhist images unearthed outside the region and in Sichuan and Chongqing,it can be determined that the Buddhist images of the tomb murals in Sichuan and Chongqing are mainly introduced into China from Central Asia rather than Myanmar.The above factors together construct two systems of Buddhist images of tomb murals from Han Dynasty to Western Jin Dynasty.Firstly,Sichuan and Chongqing Buddhist image system.Sichuan and Chongqing areas are closer to India.The murals in the tombs are mainly the Buddha sitting with Abhaya,and the features of the early Gandhara Buddhist art obviously.The clothing pattern carving has the Mathural style of making the Buddha,which basically conforms to the standardized Buddha rituals.Secondly,the eastern coastal Buddhist image system.The eastern coastal Buddhist image system has the typical artistic characteristics of Chinese Buddhist statues in the initial stage.In terms of artistic expression,the overall style of the statue is the image of"localization" immortal with the characteristics of Buddha.In terms of concept,Buddhism at this time is confused with the belief of Daoism.In addition,it should be noted that the pure land belief began to be popular in the Western Jin Dynasty,and was accepted and recognized by the tomb belief.The portrait brick found in Xuyi,Jiangsu Province,may be the earliest artistic practice work of the religious concept of "living in the pure land after death".The striking three body Buddha sitting on the brick may be the result of a tentative composition of three Buddhas worshiped together according to the vague understanding of the early Buddhist principles.The third chapter combs the Buddhist images in the tomb murals of the Eastern Jin and Southern Dynasties.During this period,it pays attention to the influence of Buddhism being generally accepted,especially the localization images such as "localized Flying Apsaras"," Ten Thousand Buddhas with put one's palms together devoutly".From the background of the times,on the one hand,"Emperors and Nobles worship Buddhism" and "famous scholars study Buddhism" prevailed.On the other hand,the prosperity of Buddhist painting in the Eastern Jin and Southern Dynasties provided a new theme and painting paradigm for the tomb image system and regulation that had been formed and popular in the Han Dynasty.The above two aspects provide support for the "upward movement of application regulation","secularization development" and "the formation of the religious characteristics of the trinity of Confucianism,Buddhism and Taoism".In terms of the religious function of the localized Buddhist image,the religious connotation of the thousand Buddha image is related to the world after death,and its content points to the pure land belief.However,the localization of the flying Apsaras image,which is developed from the fusion of the two images of the Han Dynasty Yuren and the Buddhist flying Apsaras,not only inherits the function of the Han Dynasty Yuren to lead the soul to the heaven and point to the"immortal realm",but also the intervention of the Buddhist belief and the popularity of the pure land belief,which make them have the religious function of the pure land belief.The fourth chapter combs the Buddhist images in the tomb murals of the Northern Dynasty,focusing on the influence of the grottoes system on the tomb murals.During this period,the grottoes art of the Northern Dynasty has made great achievements,which is also the preparation period for the final establishment of Chinese Buddhist art style in the Sui and Tang Dynasties.From the perspective of the background of the times,the influence of Buddhist belief and art has increased,the art of grottoes has flourished in an all-round way,the aesthetic appreciation of Buddhist art has moved closer to the ruling class,the art of Buddhism has been further localized and nationalized,and the belief of Buddhism has influenced the new development of Buddhist art,such as the world view after death.These phenomena have promoted the formation of the regional characteristics,ethnic characteristics and artistic characteristics of the murals in the tombs of the Northern Dynasty at that time,it also promoted the art of burial to feed back the art of grottoes.To sum up,the Buddhist images of tomb murals in the Han,Wei,Jin,southern and Northern Dynasties are the early artistic practice results of the integration of Indian Buddhism into China and Chinese traditional culture.In terms of artistic features,the Buddhist images in the tomb murals at this stage have always expressed the development requirements of localization,and completed the construction of localization image system in some stages.In terms of religious belief,the Buddhist images of the tomb murals in the early stage of transmission did not show the Buddhist significance and religious function in the tombs.Instead,as an appendage of the local burial belief,they enriched and developed the burial belief system.Later,with the development of Buddhism,Buddhist images began to take on the original religious function of Buddhism and the localization of the burial belief,and the popular pure land belief was one of the important aspects.