Research On The Murals Of The Tomb Of Liao Dynasty In Baoshan

The BaoshanLiao tombs are the earliest excavated Liao Dynasty tomb mural so far,in which the frescoes push forward the style of early Liao Dynasty,Han and Tang Dynasties and the five generations,and the murals painted on the tombstone room.reflecting the Central Plains Han history and legend are especially more eye-catching.So it has attracted the interests of many scholars,and the continuous deep study of the murals.However,it is undeniable that the archaeological significance and historical interpretation of the murals in Baoshan Liao tomb still have some space to expand.This paper attempts to combine the new archaeological materials to make a new interpretation and discussion on the murals of the Liao tomb in Baoshan.The text is divided into three chapters:The first chapter mainly tests the two murals on west and east walls in Baoshan Liao No.1 tombstone room.Although the "Gao Yi Tu" and the "Xiang Zhen Tu" have already been eroded,the paper believes that we can find the truth with the combination of historical literature and the picture itself.As to the "Gao Yi Tu",from the painting structure and performance of the characters,what the murals painted can be determined as the Seven Worthies of Bamboo Grove while only 5 persons are showed on the murals,which I think is affected by the "Five King Theory " so that Tao Shan and Rong Wang are excluded.The paper tries to clarify those eroded illegible characters according to the rank of the Five Worthies from literatures and paintings on the brick with the combination of the painting structure;when the test comes to the " Xiang Zhen Tu ",the paper infers the three fairies identities based on fresco character composition,title list of word structure,and the literature handed down,then according to the screen actual content,the meaning of this mural paintings in the tombs is inferred.The second chapter researches the two murals on the south and north walls in No.2 tombstone room of the Liao Baoshan tomb.The author thinks there are three heroines in the "Ji Jin Tu",but not only one based on the briefing,and the painter used the method of "continuous mapping" in the " Ji Jin Tu " to express three plots including "preparation of the brocade","versifying on the brocade" and "send the brocade",and the complete,concise expression shows a complete story about Su Ruolan's "boudoir".For the tests of the second mural "Song Jing Tu".there are two kinds of views in academic circles at present,aiming at which the author considers that the picture expression should be "favorite concubine of emperor Minghuang and parrot" story according to original literatures and paintings.The third chapter researches and supplements the related problems of the murals in the Liao tomb of Baoshan.which is divided into two sections:the first section considers that Su Ruolan in the painting shows female painter figure in the Liao Dynasty,which is a supplement to archaeological picture material of the historical female painter in the Liao Dynasty,and the image of her writing is the filling of the writing paintings in the Five Dynasties based on the "Ji Jin Tu".According to those above,the writing image of painting and handwriting in that period could be discussed.The second section takes the "Ji Jin Tu" as an example,comparing with the"Xiang Zhen Tu" and the "Song Jing Tu",the paper finds that the woman clothing in the "Ji Jin Tu" even reflects the woman clothing characteristics of both early and late Tang Dynasty,however,the small and narrow style of female dressing in the early Tang fused the dressing style of the Northern barbarian tribes in ancient China.From this point it can be inferred that the Liao people whose ancestors were Hu people specially selected the "Ji Jin Tu" as a mural as they preferred the early Tang dressing style fusing with the Hu style.The author also guesses that the four frescoes were painted by Liao painters.