Central chamber of the Mixian Dahuting 2 hao tomb 密縣打虎亭 2 號畫像石, 壁畫墓. (After: Huang 2003, Fig. 8)  

Central chamber of the Mixian Dahuting 2 hao tomb 密縣打虎亭 2 號畫像石, 壁畫墓. (After: Huang 2003, Fig. 8)  

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The main research materials of this study were tombs with murals from the Han Dynasty (206 B.C.–220 A.D.). The article deals with the issue of the reflection of ancient Chinese cosmologic concepts in the iconographic design of Han mural paintings. A thorough analysis of the iconographic design of murals shows that they possessed not only a decorati...

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Context 1
... the form of the ceilings represents the idea of a round heaven which covers the square earth. At first, the majority of ceilings have a flat middle section, sloping towards the walls (Fig. 2). When the walls do not form a square, they mostly form a rectangle. They are always designed in a quadrangular form. Later, round and dome-shaped vaults (Fig. 3) start to appear, and the ceiling with a flat middle section gradually disappears from the interior grave structure. The Zhoubi school claimed that the heaven was round as an open umbrella and the earth was square as a ...
Context 2
... the eternal cycles of the five xings, symbolizing heaven and celestial bodies in an organic whole with individual godlike creatures which are sometimes represented on the upper parts of the walls. It is especially the middle and lower parts of the walls that routinely depict scenes that reflect the real earthly life of the deceased and his soul (Fig. 3). Above the door, lintels, or walls above the door can be depicted guardians of the tomb either in the form of godlike creatures or in the form of real guardians. In some tombs, a brownred line even more clearly indicates the boundaries of heavenly and earthly scenes, and thereby bifurcate the interior of the tomb into a round heaven ...

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Article
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This paper will first introduce the basic burial customs of ancient Japan, then examine the cultural-historical factors that might have influenced the development of traditions of funerary art in the Kofun and Asuka period. The immigration of Korean monks, scholars and craftsmen to Japan during the Kofun and Asuka period transformed Japanese art. Analyzing the mural paintings of the Takamatsuzuka Tomb and Kitora Tomb, the author detects Chinese and Korean influences on Japanese funerary art. Many Korean influences during this time originated in China, but were adapted in Goguryeo or Baekje before reaching Japan. Moreover, imperial Japanese envoys who visited Sui and Tang China, came back to Japan with excellent artistic skills and introduced new artistic styles and themes of the Tang period. The frescoes of the Takamatsuzuka Tomb and Kitora Tomb are remarkable examples of how Japan greatly absorbed and modified the knowledge and philosophies of ancient Chinese culture. ANNALS OF “DIMITRIE CANTEMIR” CHRISTIAN UNIVERSITY LINGUISTICS, LITERATURE AND METHODOLOGY OF TEACHING VOLUME XXI. p. 48-68., 2021 ISSN 2065 - 0868 ISSN-L 2065 – 0868
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Ricerca comparatistica su varie creature mitologiche caratteristiche della tradizione greca e cinese, nel tentativo di evidenziare ed eventualmente spiegare le affinità tra esse riscontrate.