| Under the influence of the powerful “external factors” such as politics,economics,society and culture of Han Dynasty’s,a particular space structure and special way of artistic expression was formed in tombs of this era,which has been influencing later generations.Among the large number of remains in Han Dynasty’s tombs,in addition to tangible objects,there are an abundant of images and approaches of sculpting,which finally formed the magnificent,complicated and integrated Space Art,even under today’s perspective.In fact,the transcendence or adaptions to death has been enough to develop the artistic expression in the space of tombs.Nevertheless,all the artistic factors in space are in response to the ultimate question of life and death.In the process of analyzing tombs in Han Dynasty,this article attempts to discuss the contents and overall characteristics of its spatial construction and conceptual expressions under the perspective of contemporary art.At the same time,it also involves the relationship between the spatial & visual construction and social & life belief.In terms of methods,this paper attempts to establish a continuous observation on the context & actual objects & space and artistic expression of the tombs in the Han Dynasty,and provide some new entry points for the study of ancient art.Chapter 1 discusses the necessity of analyzing Han tombs from the perspective of contemporary art.The contemporary space project for the dead leads to the reflection on the multi concept expression and the visual subject of "the dead" space,from this we can look back on ancient tombs.This chapter emphasizes the dualistic structure of tomb space,which is divided by the earth’s surface and shows the differences between positive and negative in spatial & visual expression,corresponding to different conceptual contents and spiritual connotations respectively.Chapter 2 analyzes the aboveground and underground space of different Han tombs in macro perspective.Those two parts of space have their own characteristics and are incoherent with each other,which include different spatial contents,visual logics,life beliefs and artistic views.Chapter 3 observes the spatial changes of Han tombs in more than 400 years.By analyzing different concrete objects in space,it discusses that the space of tomb above and under the ground weakens the “separated” relationship of artistic expression and presents the result of mutual influence between spatial construction and conceptual expression,finally forms the expression of multi-space connotation.Chapter 4 discusses the expanding function of images in spatial construction.Taking Zhuwei Stone Chamber and No.1 Tomb in Dahuting,Mi county as examples,it analyzes the ultimate form of Han tombs after the rectification and consolidation in the late Eastern Han Dynasty.Those two tombs are typical in Han tombs’ spatial construction and also the result of “space art” displaying in ancestral temples and tombs under the mutual influence of dualistic spatial content.The last part discusses the extension of Han tombs in the sense of spatial aesthetics and spatial concepts,which is constructed between “positive and negative”.Space of Han tombs not only has special power in the eyes of people at that time,but also is regarded as a space of cultural memory for future generations.It is continuously added on new spatial connotations and aesthetic meanings and it probably could provide new nourishment for today’s contemporary art. |
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