| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 97 === Since 20th century, the Tang Dynasty graves has been discovered all over the country in China. In part of those graves, there are a great quantity of exquisite mortuary objects and grave murals. According to the achievement of archaeology, these grave murals can roughly be divided into four regions: north area, Guanzhong and Luoyang area, south area, northwest area. The themes of grave murals are various, such as astronomy, archtecture, figure, flower, bird and animal. Especially the figure under tree, it doesn’t look special at first glance, but the considerable manner of type, idiosyncrasy and composition represent the diversity of Tang Dynasty grave murals. In Japan, at the same time, the screen, “Torige Ritsujyo no Byoubu”, with painting of “beauty under tree” was created, which is now conserved by Shosoin. Compare the painting of this Japanese screen with grave murals of Tang Dynasty, we could know that the Japanese painting has a close relation to Chinese style because their styles are similar.
In this dissertation, I focused on “figure under tree” in Tang Dynasty and did further research. I mainly disscussed the existing grave murals and then integrated the Dun-Huang murals, grave screens and other mortuary objects, with the painting of “figure under tree”, into the discussion. In order to research the “figure under tree” in Tang Dynasty, first, I tried to discuss origin of the painting and figured out how many styles it inherited from the former dynasty; second, I tried to figured out the types and special meanings of the painting by statistics, style analysis and iconology, then tried to find out it’s development process and effect. By this dissertation, I hope to gain the comprehension on art of Tang and discuss the general situation of development of protrait and landscape painting in Tang Dysnasty; finally, I hope to find out an appreciation of the painting “figure under tree” by the artistic value and historical meaning.
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