Study On The Aesthetic Culture Of Shanxi Tomb Murals In The Northern Dynasty

The Northern Dynasty is in the transitional stage between the Western Han Dynasty and the Sui and Tang Dynasties.As a transitional period of Chinese society and culture,it plays an important role in history.During this period,due to the frequent alternation of political power,the nomadic ethnic groups in the North Xianbei and the ethnic minorities in the northwest merged with the Han,showing a mixed style of Hu and Han,which had a deep impact on the culture of Sui and Tang Dynasties.Pingcheng(now Datong)and Jinyang(now Taiyuan)in Shanxi Province,as important political centers and military fortresses in the Northern Dynasty,are also important cities for Hu merchants to trade in China through the silk road.A large number of tomb murals of the Northern Dynasty have been unearthed in recent years.As the material evidence of ethnic integration in the Northern Dynasty,these tomb murals cannot be comprehensively summarized only by "Hu Hua" or "Han Hua".The exchange and collision between Hu and Han ethnic groups jointly formed the colorful tomb mural art in the Northern Dynasty.During the Northern Dynasty,religious beliefs tended to be diversified.The tomb murals of the Northern Dynasty,as image materials,provided an opportunity to study the society of the Northern Dynasty,reflected people’s view of life and death at that time,and revealed the customs and religious beliefs of the society of the Northern Dynasty.The aesthetic concept in tomb murals is influenced by Chinese native view of life and death,Buddhist view of life and death and Zoroastrian view of life and death.The pictures of hunting,feasting and other daily life themes in the murals reproduce the social life scenes of the Northern Dynasty in the form of images,reflect the tomb owner’s nostalgia for the present life and express the tomb owner’s pursuit of "life".The images of gods and immortals in the ascension map create a fairyland atmosphere,which can see the tomb owner’s attitude towards death and his expectation for the world after death,and his desire for his soul to ascend to heaven.This paper mainly takes the tomb murals of the Northern Dynasty in Shanxi as an example,through the interpretation of the burial utensils,the content and style of the murals in the tomb,explores the religious beliefs and aesthetic psychology of the upper nobility of the Northern Dynasty,and then understands the aesthetic fashion of the Northern Dynasty society.The first chapter expounds the reasons,research purposes and innovations of the thesis,explains the research methods used in the thesis,and summarizes the comprehensive research on the tomb murals of the Northern Dynasty at home and abroad.The second chapter combs the archaeological situation of tomb murals in Shanxi Province of the Northern Dynasty,and introduces the shape of tombs,the theme of murals and the specific content of images in Pingcheng and Jinyang.Explore the historical background of the formation of Shanxi tomb murals in the Northern Dynasty,go deep into all angles of social life in the Northern Dynasty,and explore many possible influences in the formation of tomb murals.The third chapter is the preliminary interpretation of the Confucian belief in the Northern Dynasty Murals and the Taoist culture in the Northern Dynasty.The fourth chapter is the tomb mural art of the Northern Dynasty in Shanxi Province,which reflects the aesthetic taste of the upper nobility and becomes the way for the rulers to show their cultural identity.The owner of the tomb publicized the special honor before his death,hoped that the soul would be eternal after his death,and interpreted the perfect combination of "soul" and "body".The fifth chapter selects the images with typical aesthetic characteristics in the murals of the Northern Dynasty in Shanxi Province,and discusses the characteristics of the shape and color blending of Hu and Han costumes,the spirit of "advocating martial arts" in the pommel horse hunting image and the image of multiple gods and monsters in the ascending picture.The conclusion reveals the netherworld of heaven,earth,God and man expressed in the tombs of the Northern Dynasty,and feels the ultimate concern for the people’s spiritual world from the tomb murals.