The Real Image And Chair Of The Soul:Study On The Image Of The Owner Of The Song Dynasty Tomb In Sichuan

The Song Dynasty was another peak of the development of burial decoration after the Han and Tang Dynasties.During the late Tang and the Five Dynasties,the scale of burial began to shrink.By the Song,Liao and Jin Dynasties,the scale of burial was basically shaped as small tombs.The image of the tomb owner is the mainstream theme in the Song Dynasty tombs.Due to the chaos and disunity in the late Tang and the Five Dynasties,the regional cultural differences in the Song Dynasty were prominent.Especially because of the steep terrain in Sichuan,a relatively independent cultural system has been formed.There are many rectangular stone chamber tombs in Sichuan area,and the image of the tomb owner is mainly presented in the form of relief in the niche behind the tomb chamber.More unique is that in the same position in the tomb chamber,some did not directly show the image of the tomb owner,but the empty chair to symbolize the tomb owner’s "position",is designed for the invisible soul of the tomb owner.Empty chairs,surrounding screens and attendants create a space for worship.The image of tomb owner is a common expression subject in tomb art,which first appeared in the silk paintings unearthed from the tomb of Chu in the Warring States Period.In the Western Han Dynasty,the image of tomb owner appeared in the tomb murals.However,as there were few murals in the Western Han Dynasty,the image of tomb owner was rare at that time,and the image of tomb owner in the picture stone of the Eastern Han Dynasty became particularly common.During the Wei,Jin and Southern and Northern Dynasties,the images of tomb owners continued to develop.Large tomb owners’ portraits were popular,and line engravings of tomb owners began to appear on sarcophagi.During the Sui and Tang dynasties,frescoed tombs were more popular,mostly showing the tomb owner going out in the ceremony drawing,and there was almost no single tomb owner image found.In the Five Dynasties and Ten Kingdoms,this theme reappeared and began to take the form of statues,which continued to influence the Song and Yuan Dynasties.In the Song and Liao dynasties,the images of tomb owners were restored and flourished,mainly found in the frescoes of wooden brick tombs.During the Song and Liao dynasties,tomb owners’ portraits had become a common theme in tombs,especially in frescoed tombs in the Central Plains in the north of China.Among 242 reported tomb paintings,57 tomb owners’ images appeared.Scholars mainly focus on the northern frescoed tombs,and discuss the influence of the graphic representation of the former tomb owners on the graphic representation of the later generations,the characteristics of the image form of the specific tomb owners,and the interactive relationship between the image and the connotation,etc.By sorting out the published materials on the images of tomb owners in the Sichuan Song Dynasty tombs,it is found that there are three main patterns in the same position in the niche behind the tomb chamber of the Sichuan Song Dynasty tombs: portrait of tomb owner,empty chair and tablet of tomb owner,the portrait of tomb owner is "real image",and the latter two patterns can be classified as "virtual position".This article mainly from four aspects,one is published on sichuan song dynasty tomb Mu Zhu Ren image data,put Mu Zhu Ren image in the whole sichuan province and the burial chamber discuss respectively,in the space environment and social environment of the analysis in the chamber,the research mode of different region and with the burial chamber other adornment material combination form of difference,as far as possible to recover the tomb of a complete space;The second is the image analysis,focusing on the discussion of the tomb owner image of the three modes,the form of expression,theme and other aspects of the cultural content and artistic expression characteristics reflected by the analysis of their graphic meaning and the source of images,so as to find the theme of the tomb owner in Sichuan regional personality and commonness;The third is to combine the three models,explore the reasons for their coexistence,and try to connect the image of the tomb owner in Sichuan with the surrounding areas;Fourthly,from the perspective of sociology,the author thinks about how the image of the tomb owner forms a connection with the social context at that time,and how to reflect the funeral culture and social thoughts of Sichuan in the Song Dynasty.