| Summary: | 碩士 === 國立臺南藝術大學 === 藝術史與藝術評論研究所 === 95 === Abstract
The main topic of this thesis is to illustrate and interpret the development of form on Chu ‘Tomb Guardian’ during the Eastern Chou. And the analysis on decoration reveal the visual effect and a set of rules. The craftsman and the clients influence how the form and style develop. And the belief on dieties, demon, and ancestor of clans on Chu territory may play a leading role on the form of the‘Tomb Guardian’.
Form analysis reveals that Chu Tomb Guardians could be classified into fives categories. Category A,B,C consist a formal sequence and transits slowly, the sequence occurs only in the core area—Hubei Jianling, Zhaojiahu. And the sequence of style goes from abstract, plain to gorgeous among Spring and Autumn to Warring state , the form become decade during late Warring State. While type C prevails during the Warring State, type D2 may imitate from the idea of type C2 , for it came abruptly in Hunan ChangShai with a mature form. The rest of guardians that lacking context are classified to type E.
According to archaeology excavations, the distribution of ‘Tomb Guardian’ concentre in the specific cemetery area, especially among the Yutaishan,Zhaojiahu and Jiudian. The data shows that the custom with ‘Tomb Guardian’maybe related to specific clan. Besides, the result of quantitative and qualitative analysis on Chu tomb reveal that tomb guardian isn`t universal, and there is no special connection with gender. The scale, delicacy of guardians may be related to the rank of the tomb master.
This research tries to trace the source of antler and tongue ,which is the important motif of ‘Tomb Guardian’. Overall ,the implication of the guardian could be multiply, and it changes with form.
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