导　　师： 郑岩

学科专业： 050403

授予学位： 博士

作　　者： ;

机构地区： 中央美术学院

摘　　要： 作为在中国传统历史文化语境中衍生的词汇与概念,“天下”观念在商周时代初具雏形。并在东周晚期至秦汉时代华夏意识渐趋增强与皇权社会逐步构建的过程中,被赋予了“天子统治万民”式的政治与文化意义。论文将研讨的主题放置在东周晚期至西汉中期政治与社会转型的宽广背景中。采取历时性的写作方式,系统分析从秦始皇至汉武帝时代,皇帝在臣僚、工匠的协助下如何通过形式多样的视觉艺术,去建构或呈现“天下”观念。就秦始皇时代来说,始皇既可以通过对都城的建构借以塑造沟通天地轴心的中心与威仪观念,也可以在广袤的帝国疆土上通过放置立石、营造行宫、直道、驰道、长城以展现对天下世界的控驭。同时,在秦始皇陵墓中,我们也可以看到通过设置一些表现特殊的“场景”如K0007陪葬坑来显示对想象中的“天下”世界进行部分呈现与占有的观念。 论文进一步认为汉初诸帝对“天下”观念也有认知,他们也曾经在官僚、工匠的协助下通过塑造一些视觉艺术形式对这种思想展现了某种关注。随着汉武帝的即位,情况又发生了某些变化。论文接着又研讨了武帝如何借营造上林苑来呈现其对“天下”观念的思考。在分析武帝营造上林苑的若干观念动机后,该文认为武帝对上林苑的几处关键“景观”如昆明池、建章宫太液池的历时性营建,在某种程度上也展现出他借此呈现“天下一家”、“普天之下”式的思想意识。 需要特别指出的是,论文也同时注意到在秦始皇至汉武帝时期,一些来自地方上反映宇宙观的图像也为帝王所利用,并进而被转化为用以展现在皇权社会中,帝王统治合法性与道德性观念的历史进程。此外,位于帝国边域的南越王国也可借一些视觉艺术材料,来隐晦地表达其对天下、国家等观念的觊觎。凡此种种都显示出这一时期对“天下”观念的图像表现带有某种多元化、立体化与地域化的特征。视觉图像在这一形塑过程中也具有独特的价值意义。它在某种程度上也展现出秦汉帝国的国家形象。而在此一时期衍生的对“天下”观念进行视觉表现的若干“格套”也对其后的中国古代皇家美术的创作产生了一定影响。该论题也促使我们更为深入地思考视觉艺术与政治、宗教、思维之间的交相互动问题。 As a word and concept which derived from traditional historical and cultural context in ancient china,"Tianxia" appears in an embryonic form in Shang and Zhou period. Later this word was also be bestowed with the political and cultural meaning of "The emperor who rules the nations", in the gradually strengthening and construction process of Huaxia/(华夏/) consciousness and imperial authority society, from the late Eastern Zhou Dynasty to the period of Qin and Han Dynasties. This dissertation places the research topic in the broad background of political and social transformation from the late Eastern Zhou Dynasty to the mid-term of Western Han Dynasty. It uses the diachronic way of writing to analyze systematically how the emperors use the diversified visual arts forms to construct and present the conception of Tianxia by the help of ministers and artisans, in the period of the first emperor Qin Shihuang/(秦始皇/)of Qin Dynasty to the emperor Wudi /(汉武帝/)of Han Dynasty. For the period of Qin Shihuang, he could mould the central concept, impressive and dignified manner which link up the heaven and earth, and at the same time he also could reveal the control of Tianxia world by placing standing-stones, construct temporar, straight road, royal road, great wall in the widely empire territory. Besides that, we also could see that the conception of presenting and possessing Tianxia world partially in the way of setting up some special man-created landscape such as accessory pit K0007/(K0007陪葬坑/)in Qinshihuang' Mausoleum. Furthermore, the study also points out that the emperors in the early Han dynasty have the cognitions of Tianxia, they also showed this conception through the way of creating some visual arts by the help of ministers and artisans. This case changed along with the emperor Wudi's enthronement. The dissertation then discuss how the emperor Wudi presented the idea of Tianxia through building up Shanglin imperial park /(上林苑/).After analyzing several motives of constructing Shanglin imperial park by Wudi, the research in the dissertation shows that some crux artificial scenery such as Kunming pool /(昆明池/),Taiye pool of Jianzhang palace/(建章宫太液池/)which were built up diachronically by Wudi in Shanglin imperial park showed his thought of "All under heaven are of one family" and "all over the world". It needs to be specially noted that the dissertation also treats the historical course by which some images of worship reflected the conception of cosmology utilized by emperor in this period, showing these images were also transformed into the conception of presenting the emperor'validity and morality in the imperial authority society. Besides that, the Nanyue Kingdom/(南越国/)which is located in the boundary of imperial domain also could express and covet the ideas such as Tianxia, country with the visual arts veiledly. In a word, all these factors indicate that the image performance of Tianxia had the pluralistic, stereoscopic and regional character. The visual images also had the special value and meaning in this shaping process. It also revealed the nation's image of Qin and Han Empire in a way. Meanwhile, some visual expression patterns of "Tianxia" conception that derived from this period had also effected the royal of fine arts in later ages to a certain degree. And this thesis also impels us to consider the interactivity between visual arts, politics, religion and thought more deeply.

关 键 词： 秦始皇至汉武帝时代 政治与社会转型 天下 观念 视觉艺术形式 建构与呈现

分 类 号： [TU-86 J120.9 K232]

领　　域： [建筑科学] [艺术] [艺术] [历史地理] [历史地理]