A Brief Analysis of Competitive Sports Depicted on the Portrait Bricks and Stones of the Han Dynasty

The emergence of competitive sports in ancient China is closely related to military activities.With the evolution and development of society,many sporting events have been introduced to and accepted by,the people and later carried forward from generation to generation.In the Han Dynasty,thanks to the strong national strength and booming economy,competitive sports witnessed rapid development.People at that time,from imperial officials to common people,were all keen on various competitive sports and such sports were also very popular among the folk.Along with this,there emerged multiple monographs on sports.Portrait bricks are the remnants of the lavish burial rituals of the Han Dynasty.As the economy grew and social wealth amassed,the lavish burial custom prevailing since the Spring and Autumn Period reached its peak in the Han Dynasty,especially in the Eastern Han Dynasty.People would bury in tombs along with various articles they used before they died.They would also paint the life of the tomb owner on bricks to decorate the tomb by embedding them in the tomb chamber.The images on the portrait bricks unearthed from the tombs of the Han Dynasty are the most intuitive and convincing physical evidence to reflect the development of competitive sports at that time.We conduct a preliminary study on competitive sports in the Han Dynasty by using the portrait bricks of the Han Dynasty unearthed in Sichuan province and the Yellow River basin as examples,aiming to do our bit to build a sporting powerhouse and a healthy China.

Glimpse of the Han Dynasty from Han Stone Relief——Take the Han stone relief in Tengzhou For Example

Han stone relief is a kind of unique burial art in China and has a far-reaching influence in the whole history of art.Han stone relief is discovered in quite a few districts in China.Tengzhou is one of the districts that discovers Han stone relief at the earliest and has relatively abundant remains.The article takes Han stone relief that is in Tengzhou Shandong as an example,analyzes the subjects and contents of it,as well as its values,and explores the mainstream ideology which is reflected by these stone portraits at that time.

A Textual Research on the Image of＂Gaomei God＂ in the Stone Relief of the Han Dynasty

As the most primitive and the highest-level media in ancient Chinese society, Gaomei God played a pivotal role in the social life of the Han Dynasty. The stone relief is a vivid portrayal of the Han Dynasty society, and we can use the format routine method to fred out the image of Gaomei God in it. Starting from the Gaomei portrait, a research on typology is carried out before the portrait is divided into three types on the basis of its development and evolution, which is followed by a comprehensive analysis of its time, distribution area, configuration combination, carving techniques, image composition, development in a way to sum up the law of Gaomei portrait.

Xu-style Garden Architecture of the Han Dynasty: Hanging Waterside Pavilion

Based on the Han Dynasty stone reliefs unearthed in the ancient Xuzhou area,a kind of pavilion above the water—hanging waterside pavilion(Xuan Shui Xie,built above the water with stilts and brackets as the base and seeming hanging on the water)was systematically collected and classifi ed into 2 major categories:single-bracket column hanging waterside pavilion and multiple-bracket column hanging waterside pavilion.The research showed that hanging waterside pavilion got ride of traditional pavilion’s reliance on rammed earth foundation.In addition to working as a connection part,brackets,or bucket arches(Dougong)had also tremendous load-bearing capacity,straight and curved brackets co-formed a giant multiple bracket system,staircases and one-side hanging structure were used to support the upper construction,so that a new towering but light wooden structure hanging above the water was created,which was an innovation of bracket technique of the Han Dynasty,and also a creative design in the development of wooden architecture.

Brief History of Xu-style Gardens in the Qin and Han Dynasties

This paper studied the gardening activities and characteristics of Xu-style gardens in the Qin and Han Dynasties by combining ancient literature with the study of Han Dynasty stone reliefs.The results showed that by Qin and Han Dynasties,the imperial(royal)gardens and private gardens in ancient Xuzhou had developed in parallel.Imperial(royal)gardens were built by or for vassal kings,First Emperor of Qin Dynasty,Emperor Gaozu of Han Dynasty Liu Bang,for example,Pei Palace,Yanqi Tai,Xima Tai,Hanzu Temple,Lingguang Palace of Lu and so on.As for private gardens,stone reliefs in medium or small tombs owned by the bigwigs or the rich were collected from ancient Xuzhou,and from which we can see clearly the development of private garden from the court,the yard to the garden,rich garden plants and animal species,garden architecture types such as hall,building,pavilion,platform,boat,corridor,gate,gatetower,ornamental column etc.,particularly,hanging waterside pavilion was a unique architectural form of Xu-style garden.These achievements showed that Xu-style garden architecture had been transformed from the pre-Qin incubation period to the generation period.

Bible Depicted in 2,000-year-old Han Dynasty Stone Carvings

Wang Weifan is a member of the standing committee of the China Christian Council, and a Christian theology education professor. He recently discovered that several Eastern Han Dynasty museum exhibits in the Jiangsu Xuzhou Han Dynasty Stone Carving Museum include depictions of the bible and of

浅析徐州白集汉画像石墓的建筑特质

白集汉墓位于徐州市贾汪区,是一座典型的汉代画像石墓,反映了徐州及其周边地区东汉中晚期汉墓的具体面貌、发展以及演变等。由于发掘年代久远,研究资料不足,该文对白集汉墓进行了重新测量、调研,并对现有研究现状进行梳理,结合实地调研测量数据和原有数据,与周边具有代表性的汉墓进行对比,对白集汉墓的建筑结构、平面布局、画像石配置、汉代尺度提出新的看法与思考,试图对白集汉墓所蕴含的汉画像石墓的建筑特质、发展与演进等进行提取与分析。

南阳汉画所见汉代丧葬观念与宗教文化特征

南阳汉画中有大量涉及宗教信仰的题材内容,是反映汉代宗教文化最直观、最全面的资料。南阳汉画本身就是具有宗教色彩的丧葬艺术表达形式,是汉代丧葬观念意识的生动体现。它以追求长生不老、得道成仙为目的,展示了汉代人为死后世界臆造的一系列虚幻的宗教意象,是一种“天国的幻想”。其具备的多神崇拜和兼容并蓄的多元化特征,既反映了汉代宗教对原始宗教文化的继承与创新,又体现了鲜明的地域文化特色。南阳汉画对于了解汉代宗教文化的时代特点和发展演变以及汉代人的思维方式、文化观念提供了独特的视角。

南阳汉代画像石墓分区研究

全国汉代画像石的分布分为五个区,其中南阳汉代画像石属于二区。该区的汉代画像石分布之广,已经超越了南阳的地理范围。其广泛分布于整个南襄隘道,呈现出以南阳市为中心,南北长约400千米,东西宽约150千米的广阔地理空间内。在这个区域内,画像石也有着诸多差异,即以唐河县湖阳镇为中心的一区、以南阳市宛城区为中心的二区和以方城县城关镇为中心的三区。

皖北汉画像中淮夷与吴越文化的遗存研究

今天的皖北汉画像石出土地域,在汉代隶属于不同刺史部的郡县,出土的画像呈现出丰富多样的类型面貌,其体现了汉代以儒家为主流意识的时代精神。先秦时期,皖北先后属于淮夷和吴越所辖地域,出土的画像也具有淮夷与吴越文化遗存的特点,反映了该区域的地理环境、族群信仰、文化生态面貌。本文首先借助于历史地理学的方法对皖北汉画像石出土地域进行钩沉考索,然后以图像形式语言分析汉画像的视觉表征,在此基础上,再探索其文化内涵和审美倾向,旨在对皖北地域汉画像中淮夷与吴越文化遗存的特点展开研究。

汉代画像石纹样在男靴设计中的创新应用

画像石是古代绘画艺术的重要表现形式,亦是我国石雕艺术的起源之一。通过对汉代画像石纹样的梳理及研析,探讨其纹样所蕴含的文化深意,分析其视觉语言,调查不同年龄段受众群体对于男靴款式的偏好,统计并分析数据以确定基本设计样式,提取汉代代表性画像石纹样基本元素,运用简化、概括、提炼等设计手段衍生出多种创新纹样并应用于男靴。该研究一方面增加了鞋靴产品的多样性,丰富了男鞋设计体系;另一方面也为中国传统纹样在现代鞋靴设计中的创新与应用提供了新方向。

汉代画像石的装饰艺术美学价值探究

汉代画像石是我国传统装饰艺术的宝贵遗迹,有其特殊的历史背景和社会生活产生的渊源,它在装饰艺术表现形式上有极高的美学价值,通过独特的构图、鲜明的主题、精湛的技法、华丽的图案等几个方面展现出它的艺术风采。汉代画像石艺术是立足于大众文化立场的装饰形式,它让艺术直接走进平民大众的日常生活,使汉代的平民大众从审美文化实践方面获得了关于艺术的新理解。汉代画像石通俗化、世情化、大众化的艺术本质和美学价值,对后世的装饰艺术及现代艺术都产生了深远的启示和影响。

四川汉代画像砖文化创意产品的叙事性设计

为更好地传播四川汉代画像砖所具有的文化内涵,发挥其文化魅力,文章对四川汉代画像砖的画像题材、艺术风格、精神内涵进行了梳理,对画像砖类文化创意产品现状展开调研与分析。提出了准确表达式、用户参与式、意境相融式三大叙事性文化创意产品设计策略,并从叙事性设计的角度提出四川汉代画像砖文化创意产品的设计方法。以设计实践验证了该方法在四川汉代画像砖文化创意产品设计中的可行性,为叙事性设计在文化创意产品中的应用提供了新思路。

汉画像石文化品牌开发SWOT分析和策略探究

打造文化品牌,探索汉画像石文化资源开发的新思路,是推动我国优秀传统文化创造性转化创新性发展的直接体现。汉画像石作为中华优秀传统文化遗产,其品牌价值目前还没有得到充分开发。SWOT分析表明,汉画像石的文化代表性、象征性和差异性优势符合文化品牌开发的核心要求。在国家倡导和良好的社会、市场与科技环境机遇下,汉画像石文化品牌开发需要克服祭祀审美向大众审美、文化价值向市场价值转换的矛盾劣势,规避区域间品牌开发竞争与管理中的形式主义威胁等问题,实行以政府为主导的策划管理策略、多元化的品牌定位策略和多样化的品牌传播策略。

汉画像石中虎造型在文创产品设计中的应用研究

基于汉画像石虎造型的文创产品的设计研究。通过阅读相关文献,对汉画像石中虎造型形态特征、线条特征以及文化内涵进行归纳梳理,综合运用元素提取法、风格沿用法、元素转译等设计方法。设计出了《瑞兽福虎》系列纹样及文创产品。在设计案例中验证了研究思路的可行性,实现了汉画像石虎造型与现代设计的融合。提出设计者在进行文创产品的设计时,不仅要了解产品的功能,同时也要兼顾产品与文化内涵间桥梁的架构。

基于汉代画像砖实证材料的进贤冠起源、形制及使用

进贤冠是汉族男子冠服体系中极具代表性的冠式,其演变与中国古代官员制度的发展相联系。为了研究汉族冠服形象体系中文职官员的进贤形象,文章基于汉代画像砖史料实证汉代进贤冠的起源、形制及使用,有助于推动汉代男子官员形象研究。研究指出,进贤冠作为汉代官职体系发展的衍生物,在西汉时期就已存在基础样式,经新政时期完备,在东汉时期趋于成熟。汉代进贤冠独具特色的形制样式及符号表征在传统的各阶级中烙下深刻印记。进贤形象呈现中华文化独特的价值观及礼仪规范,是传统阶级文化的沉淀亦是多维审美趣味的展现,对历代汉族男子的冠服体系发展奠定重要基础。

汉画中艺伎倒立图像的艺术造型与文化阐释

汉画中艺伎倒立图像数量众多且形式多样,其造型从双手倒立到单手倒立,再到复合式倒立,同时还混合有其他动作,使倒立造型变得更加优美。倒立造型是汉代舞乐百戏的重要表现形式之一,也蕴含着丰富的文化内涵,不仅展现了汉代贵族休闲娱乐的生活特征,体现了艺伎的创新精神和竞技精神,同时还对普通大众的身心健康有着促进作用。故而在欣赏汉代画像以及其他艺术形式时,我们不仅要看到表面的美,还要关注艺术所蕴含的文化价值,这样才能真正把握其艺术的内涵。

新莽至东汉初年南阳汉画中的门吏服装考

新莽至东汉初年的南阳陈棚彩绘画像石墓中出现了大量的门吏形象,反映了南阳地区这一时期不同身份门吏的服装特点。根据门吏所持物品不同,可将其分为拥盾门吏、执笏门吏、执戟门吏、执棨戟门吏、执金吾门吏和拥彗门吏。拥盾门吏多为门亭长,戴武弁大冠;执笏门吏多为门大夫,戴进贤冠;执戟门吏与执棨戟门吏为郎官形象,戴武弁大冠;拥彗门吏为门卒,戴赤色平上帻;执金吾门吏为执金吾,戴赤色介帻。门亭长等皆为汉代门者,因此在汉画像中多以门吏形象出现在墓门或门柱上,以起到宿卫亡灵的作用。其服装亦与各自的身份相称。

陕北晋西汉画像石主神图像研究

本文通过对陕北晋西汉代主神画像发展脉络的梳理,认为该区域汉代画像中最早出现的主神是伏羲、女娲,随后在西王母信仰传入且没有大范围流行之前,鸡首、牛首人身神人作为主要神仙端坐于玄圃之上,再后西王母成为该区域汉画像中最重要的主神形象。就西王母画像组合中的男性仙人身份进行解析,可见雨师、仙官、子路和东王公。