本论文以唐三彩镇墓兽为研究对象,对唐三彩镇墓兽的造型特点做了较全面的梳理。 唐三彩镇墓兽是唐朝贵族墓室里的陪葬品雕塑,以高岭土为原料,用模具成型和手工成型为制作方法,表面有三彩釉,初烧温度为1000度,釉烧温度为800度。通常两个一起在陵墓中出现。唐三彩镇墓兽造型可怕,釉色华丽,是中国雕塑史中非常奇特的门类。 唐三彩镇墓兽陶俑出现于约公元7世纪末到8世纪中期,这短短的半个世纪是唐朝政治,经济,军事,文化各方面走向鼎盛的时期,经济发展,多国文化交流,突破中原地区审美范式,陶器烧造技术发展是唐三彩镇墓兽的时代背景。 唐三彩镇墓兽陶俑集中出土于中国唐朝的两个首都:陕西省西安市与河南省洛阳市,又随着唐朝的灭亡消失了一千多年,直到20世纪初才被重新发现。唐三彩镇墓兽是动物雕塑俑,有两种形式,一种是人面镇墓兽,即人脸与动物身体结合,一种是兽面镇墓兽,即狮头与动物身体结合。唐三彩镇墓兽做的不是真实存在的动物,是想象中的动物,身体各个部分由不同的猛兽组合而成,镇墓兽用到的动物造型有:鹿角,狮头,狮身,鹰翅,马蹄,鹰爪等。雕塑工匠把猛兽最具有攻击性的部分加在一起,还结合胡人愤怒的面部表情,组合成阴间世界的守护神。 本文将通过分析唐三彩镇墓兽各个部分的造型特点和作用,并从雕塑技法的角度分析唐朝工匠为何要将造型做得可怕,如何对造型做选择来进一步论证唐三彩镇墓兽陶俑的文化价值。
This paper takes the Tang tri-colored ceramic tomb guarding beasts as the object of study and makes a comprehensive analysis on the sculpture characteristics. The Tang tri-colored ceramic tomb guarding beasts is a sculpture buried in the tombs of the aristocrats of the Tang Dynasty. It is made with Kaolin as raw material, also with molds and hand building. The surface is covered with three-color glaze, with bisque firing of 1000 ° c and glaze firing of glaze of800 ° c. The human face tomb guarding beasts and the beast face tomb guarding beasts usually appear together in the tomb. With its terrible shapes and gorgeous glaze, Tang tri-colored ceramic tomb guarding beasts is a very peculiar category in the history of Chinese sculpture. Tang tri-colored ceramic tomb guarding beasts came in the middle of the7th century to the 8th century, this short half of century was a heyday of the period in political, economic, military and cultural aspects in Tang Dynasty. The economic development, international cultural exchange, break through the aesthetic paradigm in the central plains, kiln technology development is the background of Tang tricolor tomb guarding beasts. Tang tri-colored ceramic tomb guarding beasts were found in the two capitals of the Tang Dynasty: Xi 'an in Shanxi Province and Luoyang in Henan Province. However, those ceramic beasts disappeared with the felt of the Tang empire for more than a thousand years before being rediscovered in the early 20th century. Tang tri-colored ceramic tomb guarding beasts can be classified as animal sculpture with two forms, one is ceramic tomb guarding beasts with human face, i.e. the combination of human face and animal body; the other is ceramic tomb guarding beasts with animal face, i.e. the combination of lion head and animal body. Tang tri-colored ceramic tomb guarding beasts are not real animals, but imaginary ones. Each part of its body is composed of different beasts, include antlers, lion head, lion body, eagle wings, horseshoe and eagle claws. Sculptors combined the most aggressive parts of the beast with the angry facial expressions of the barbarians to form the patron saint of the underworld. This paper will analyze the sculpture characteristics and functions of each part of the Tang tri-colored ceramic tomb guarding beasts, and from the perspective of sculpture techniques, analyze why the craftsmen in the Tang Dynasty should make terrible modeling, and how to choose the modeling to further demonstrate the cultural value of the ceramic tomb guarding beasts in the Tang Dynasty.