A Study On The Figure Painting Techniques And Styles Of The Jingji Tomb Murals In The Second Year Of Shenlong In The Tang Dynast

Few of the figure paintings of the Tang Dynasty have survived,but a lot of intact and clear mural paintings have been emerging through excavating and restoring three Qianling tombs of Prince Yide,Prince Zhanghuai and Princess Yongtai since the 1960 s and 1970 s,which were built in the second year of Shenlong(706)of the Tang Dynasty near the then capital.These paintings,which had superb painting techniques and unique artistic styles,are classic paintings of Tang.They are precious image resources for us to study the historical record,and to understand the techniques and styles of the Tang painting.Through on-the-spot investigation,research of historical documents,comparison of mural paintings,comparison of the painting styles between the Western Regions and abroad,and analysis of predecessors’ researches,the author focuses on the modeling standards,painting techniques,color concepts and artistic characteristics of the mural paintings,especially combines with the author’s experience on painting and teaching of traditional Chinese painting,the techniques and styles of the mural paintings inside the burial chambers of the three tombs are discussed in this paper.In the analysis of modeling standards of the mural paintings,the paper classifies them according to the modeling characteristics of figures such as ladies,honor-guards,chamberlains,eunuchs,riders and archers,and the depicting methods of their faces,bodies,expressions,headwear,clothes and objects in their hands.It analyzes their layout characteristics of “composing position”,and demonstrates the high skills of the painters in the Tang Dynasty,who made their paintings,especially the groups of figures,reasonably and perfectly following the methods of clear priorities,consistency,balance between emptiness and fullness,between complexity and easiness,and between farness and nearness.Furthermore,it analyzes the connection between calligraphy and painting by comparing their ink marks.From the Qin Dynasty to the Tang Dynasty,the calligraphy style had been developing from neatness to elegance.This transformation naturally changed painting lines.The “Bony Brushstroke” presents the connection and integration between painting and calligraphy;the style of running hand and cursive were introduced to painting.These balanced,mild,varied and flexible lines make figure paintings more vivid.On sketching,it emphasizes the connection between draft sketch and artwork itself.The role and effect of “draft sketch” in traditional painting have been clearly demonstrated by the mural paintings excavated from these tombs.This paper analyzes the painters’ complicated painting process in the Tang Dynasty by comparing mural paintings with ancient paper works and the artworks in Dunhuang Grottoes.By analyzing the types and kinds of brushes in Tang and explaining the connection between the way of writing and its linear expression,the techniques of traditional painting is thoroughly described and analyzed.By analyzing the color system of Tang and the color concept of Confucianism,Taoism and Buddhism,and comparing with the mural paintings excavated from burial chambers in the Han and Wei dynasties,this paper sums up the color characteristics of the mural paintings in the burial chambers of Shenlong period,which accords with the solemn and private atmosphere for a royal tomb;presents a harmonious keynote of color and a particular color concept of grandeur and peace for royalty.Also,by analyzing ancient art education system,the perfect and ordered art education system and the stable mentoring institution in Tang are discussed.The identity background of the people buried and the social historical phenomenon were the key factors influencing the content and theme of mural paintings;the connection between identities of the creators of the mural paintings inside these three burial chambers and of royal painters,aristocratic painters and common painters is explained,and the identities of the creators of the mural paintings are inferred.Additionally,it makes analysis to these mural paintings from the angle of art appreciation in ancient times,especially in the Tang Dynasty.By analyzing the connection between the mural paintings and those in the tombs of the Han Dynasty as well as those in Dunhuang Grottoes,their ideas of creation,themes and artistic expressions are discussed.The mural painting inside three Qianling burial chambers of Prince Yide,Prince Zhanghuai and Princess Yongtai in the second year of Shenlong(706)of the Tang Dynasty near the then capital,has a special place in the history of Chinese painting,and makes up for the regret that there are few survived paintings with exact dates from the Tang Dynasty.They indicate not only that mural paintings inside burial chambers had developed into a mature period in the years of Shenlong,but that they are considered as excellent works closest to the artistic level of the mural paintings in above-ground buildings.They can directly reflect the overall level of painting in the Tang Dynasty.