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A Study of Jin Xiang Shrine’s Image in Eastern Han Dynasty
Jin Xiang Shrine,Chu Wei Shrine,pictorial style of Han Dynasty,Yu Bei Style,
|Publication Year :||2020|
This thesis takes images of Jin Xiang Shrine which built in Shandong during the Eastern Han Dynasty as the main topic, and aims to explore the image content, regional style, and the possible meaning of the image in the functional context of the ancestral hall. The following briefly explains the essay and dissertate discussed in this article:
The image of Jin Xiang Shrine is carved on the polished stone surface using the technique of line carving. However, in addition to the known image lines on the original surface of the shrine, there are still a lot of very thin shallow engraved lines, most of which are located in the lower area of the ancestral hall. These shallow lines can not only compose images corresponding to the known picture, filing the existing picture that is been known as blank, but also reveal that the designer had had different ideas about the scene presented by Jin Xiang Shrine. It changed from the earlier occasion of a toast to salute, to a lively banquet scene. It is worth noting that the part of the image composed of light lines was considered to be an area outside the image boundary in the past. The analysis of these shallow lines shows that we have not yet fully understood the indoor space of Jin Xiang Shrine, and the image of Jin Xiang Shrine should be planned according to the layout of the ancestral hall.
After examining a series of tombs in northern Henan in this regional style regard of Jin Xiang Shrine, it is revealed that whether the image style or the shape and structure of Jin Xiang Shrine are closely related to the northern Henan. In this article they are collectively referred as 'Yu Bei(豫北)Style'. The Yu Bei Style can be presented in the form of paintings or stone carvings. It tried to depict the space close to the real scene by images. While expressing the depth of the space, it also gives considerations to the volume, proportion, sense of volume of the objects in the picture and the detailed description of things. As far as other works of the Han Dynasty are concerned, they appear to be quite mature, reflecting the level of painting in the middle and late periods of the Eastern Han Dynasty. Through the analysis of this thesis can confirm that another characteristic of the Yu Bei Style is that this style has obvious hierarchical characteristics. The prototype of the Yu Bei Style should have had close relationship to the paintings which is popular in the residences of the upper-middle class in the capital.
Through the investigation to the internal image and the space configuration of the ancestral hall, and the inclusion of the shallow line images in Jin Xiang Shrine, the author deduced a whole set of interpretation that combine space and images to understand the main image of the ancestral hall of Jin Xiang Shrine that are the image and the banquet picture whose had unresolved issues: there may be a long frame (table) with paintings or real objects on the blank area under the wall of Jin Xiang Shrine, which works with the wall during the ritual activities. This thesis suggests that there is no image of the temple owner on the wall of Jin Xiang Shrine, and the temple owner exists in the indoor space of the ancestral hall when offering ritual activities. The figure-eight-shaped composition in the ancestral hall is not used to guide the line of sight, but to draw the banquet space based on the orientation and perspective of the ancestral owner, and try to express this visual experience on the flat wall image. Regarding to the banquet in the Jin Xiang Shrine and consider the functionality of the ancestral hall, we could possibly infer that it means to express a specific banquet, a grand banquet held in the cemetery and attended by local fame, old friends, and clan.
|Appears in Collections:||藝術史研究所|
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