On The Aesthetic Characteristics Of Chinese Funerary Objects Sculpture

The sculpture of burial objects, as a special sculpture type, reflects mainly different aspects of aesthetic culture in China and different aesthetic states in history, and forms in various historical periods complicated relations with social economy, politics and culture. By historical combing anesthetic characteristics of the sculpture of burial objects, and by analyzing and expaining concrete ones, the paper draws the outline of its anesthetic-cultural states, and also demostrates clearly its anesthetic features, natianl character and development tracks in China.The paper covers five parts in terms of its whole structure. First of all, in intrduction it difines the sculpture of burial objects, from which the study begins.The through briefly looking back on its evolvement history in China, the thesis simply tells its present research. At the same time, in a macroscopical angle, the thesis also expatiats upon its Chinese characteristics and its four main anesthetic featuers and historical periods, which plays a role in matting and transition for main body of itself.The paper focuses on four main anesthetic featurs of the sculpture of burial objects in China, which makes up four chapters. Chapter one dicusses its anesthetic feature for common customs, which experiences in history four main stages: of early complex of its common customs, of valuing military, culture and making real life reappeare in Qing and Han Dynasties, of everydaidy life and distinctness of individuals in Sui and Tang, of both elegant and vulgar lives, common customs and sentiments in Song, Yuan, Ming and Qing.Chapter two mainly deals with its unification between reality writing and vivid description. The unification in history experiences six stages: of early reality writing simply, clumsily and abstract vivid description, of reality valuing and emptiness avoiding in Qin, of implied meaning endowing and style containing in Han, of real describing and beauty beyond rhyemes in Tang, of interst and emotion expressing in Song and Yuan, of simpliness, plainess and emotion expressing and politeness avoiding.Chapter three,about the combination of the sculpture of burial objects between majesty and grace, explains its different representation and reasons in history.The combination experiences Qin's powerfullness and presstigiousness, Han's with naturalness and smothness, Tang's with imposingness and poeticness, Song's with severeness and gracefullness.Chapter four mainly deals with unification of the sculpture of burial objects between nationality and compatibility, and also analysizes its different representation and reasons in history. The sculpture of burial objects constitutes four parts: the sculpture with obviously local geographysical featurs, the one with natioal exchanges and combinations and its south and north formation.Based on the analysis of combining logic and history, the paper, from anesthetically cultural angel, draws the outline of anesthetically cultural featurs in China, which offers Chinese one a theory reference.