Study On The Spell Brick Painting In Southern Dynasties

The spell brick painting in Southern Dynasties is a mural form which need to go through stamps, fire, spells build by laying bricks. It uses lines to express, by two or more complete pictures with mosaic brick, is the representative of Southern Dynasties tomb art form. The murai painting made by number of spell brick paintings becomes very spectacular, which contents of the generals, fly fairy, lotus, riding band, the feathermen play with dragon and tiger, seven sages of bamboo forest with Rong Qiqi, etc. The brickwork painting caused the research interest of scholars of different professional backgrounds. Because of its important status, academic research on spell brick painting has been deeply studied. But there is no denying the fact that in the archaeological significance and historical interpretation research of spell brick painting there is still some need to expand the space. Previous studies mostly focused on a single material or theme of study of the grave, which lack for research spell brick painting as a whole. This Study tries to clear the development root of spell brick painting by combining new archaeological materials. At the same time, it use archaeological material to discuss cultural sources and influencing factors in the seven sages of bamboo forest with Rong Qiqi, and feathermen play with dragon and tiger subject.The first chapter mainly discussed the social background and the system of painters. The development of painting in Southern and Northern dynasties was influenced by the Hongdumenxue (鸿都门学) found by Emperor Lingdi(灵帝) in East Han dynasty. Paying attention to the personal development and the gentry painter participation promoted the development of the theory of painting. Painting at this time paid more attention to manner of expression and the relationship between characters and the environment, it also foreshadowed the birth of new spell brick painting (拼砌砖画) themes.The second chapter is to clarify development root of spell brick painting. According to the tomb shape, unearthed relics, and the concentration of the imperial mausoleum of Chen Dynasty, combined with the difference of burial model painting and the fact that Xishanqiao tomb (西善桥大墓) and Yuhuatai Shizigang (雨花台石子岗) were made with the same model, they can be judged as in the mid-late period of Southern Dynasty. Then under the analysis of tombs unearthed material, the subject matter of spell brick painting experienced the process from big to small and from easy to complex. The development stage can be divided into the Nanjing region and Yuhang (余杭) region, and the inheritance relationship exists between the two regions. The style of the decoration has experienced the process from the early traditional pattern to the new and strong Buddhist characteristics. Spell brick painting showed several features in the process of development:the time of seven sages of bamboo forest with Rong Qiqi (竹林七贤与荣启期) was short; lotus pattern was the most commonly patterns; the mausoleum spell brick painting subject combination from strictly to decline. At the same time, the specific images of different burial materials were also compared.The third chapter focused on analysis of the seven sages of bamboo forest with Rong Qiqi subjects, and considered that the found time of the model creation of the seven sages of bamboo forest and Rong Qiqi is in the middle to late period of East Jin Dynasty. Xishanqiao Tomb which has the most complete character sequence, its model creating and build time were separated. Based on the analysis of the Han Dynasty portrait and Buddhist images material, we found that in Han painting materials, the scale of tree image was small and far different from the seven sages of bamboo forest and Rong Qiqi theme. However Han stone appeared corolla and sector trees, and used trees as the picture composition form of separation, while in traditional Chinese painting, there was no historical figures or wiser under the tree before Yinan (沂南) Portrait stone. Combined with the background of that time, most of Buddhist stories happened under the tree, tree had an important significance in the Buddhism, so there was a lot of thinking or activities of the scene under the tree in portrait stones. The theme of seven sages of bamboo forest and Rong Qiqi used the trees and the layout of the picture in the traditional Chinese. It is a painting cremation created by gentries under the influence of Buddhism statue under the tree. This image had been modified and used in the type of Buddhist images recognition.The fourth chapter discussed the feather men play with dragon and tiger (羽人戏龙 虎) subjects. In the Han dynasty statues the combination relationship between feather men and mythical animals can be divide into feather men feeding mythical animals figure, feather men chasing or hunt mythical animal figure, and feather men riding mythical animals figure. In spelling bricklaying in Southern Dynasties feather men play with dragon and tiger was the inheritance and development of feather men feeding animals figure. For different forms has great regional difference, after regional analysis we can know that these statues in Shandong region appeared earlier and flourish, while Jiangsu areas adopted the form of a local indigenous culture which is likely to be in the influence of sculpture art in Shandong district.The fifth chapter is an analysis about the drawing of spell brick painting. The spell brick painting in Southern Dynasties had a tedious production process and requirement of audience who have higher culture. After the collapse in the gentry culture, spell brick painting gradually declined. The subjects of spell brick painting and the changes of tomb owner are reflection of the social changes. Archaeological materials have become an important evidence of historical changes. With the influence of the southern culture gradually weaken; the construction of the mausoleum in the new dynasty used the subject matter of more Northern Qi Dynasty than Southern Dynasties. As a representative in funeral culture of Southern Dynasties spell brick painting not only shows the regulation of mausoleum construction, but also plays an important role in the decoration of mausoleum. It has important significance for the study the construction system, burial system, mental state and historical features at that time.