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Liao Dynasty tomb murals couple travel map Artistic Origin of image samples Dynasty

Author: WuWanYuan
Tutor: ZhangYaSha；FuAiMin
School: Central University for Nationalities
Course: Archaeology and Museology
Keywords: Mural paintings of Liao tombs Couple’s procession the Image Original Hu Gui Northern Grasslands School
CLC: K879.41
Type: Master's thesis
Year: 2011
Downloads: 175
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Abstract


Couple’s procession is one of the most common and important themes in mural paintings of Liao tombs. The paintings of the couple’s procession, which are rich in contents, vivid in images and exquiste in drawing, serve as a precious legacy for studying Liao’s society and culture. Also, they make up for the blank in the history of drawing caused by the lack of Liao’s hand-rolled paintings, which is of significant value to the research of the development of Liao’s fine arts. This thesis attempts to draw a comparison between the mural paintings of Liao tombs and Northern Grassland paintings as a whole with the purpose of studying and describing the artistic origin and spread of the paintings of couple’s procession.The thesis consists of four parts. The first chapter gives a brief introduction to the mural paintings of Liao tombs and summarizes the characteristics of paintings of couple’s procession, while expatiating their content and development, which paves the way for the comparison in the following chapters. The second chapter focuses on analyzing the possibilities that the graphic samples of hand-rolled paintings, which shows the view of grassland exist. Also, this chapter, by comparing paintings, points out that those hand-rolled paintings are affected by the painting named Qidan Resting, which represents the style of Hu Gui. Thus, it can be inferred that the relationship between Qidan Resting and the paintings of couple’s procession. The third chapter traces the artistic sources of Hu Gui and the Northern Grasslands School by studying the background of Hu Gui’s life. It also explores the relationship between Northern Grasslands School and the Central Plains’ culture and sort out the development of the paintings of Qidan Horse in our art history. The fourth chapter summarizes the formation of artistic sources of paintings of couple’s procession and addresses that paintings of Liao tombs inherited the traditional cultures of northern nomadic peoples, absorbed the essence of Northern Grasslands School and that its diversity shows multiculturalism.This thesis puts the art of Liao into a broader historical time, from Northern Dynasties to Song and Liao Dynasty which lasted for almost a thousand years. It studies the relationship between mural paintings of Liao tombs, hand-rolled paintings of Northern Grasslands School and multiculturalism of art. The thesis concludes three ways of studying the fine art of Chinese ethnic groups, namely, (Ⅰ) paying attention to the horizontal comparison of the objects and related materials, (Ⅱ) emphasizing the unique culture that the object shows and vertically discover the background that causes the culture, and (Ⅲ) strengthening the thinking beyond the boundary of nation in the process of constructing art history of diversity and unity so as to recognize more accurately the interaction of culture and art of Chinese nation in the situation of diversity and unity.

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CLC: > History, geography > Cultural Relics and Archaeology > China 's Cultural Relics and Archaeology > Arts and archeology > Ancient painting > Mural
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