中国的墓葬艺术有着最为丰富的考古材料，无论是时间的持续还是地域的伸延都在世界美术史上无出其右。
Chinese tomb art possesses the richest archaeological information, extending over the longest temporal duration and geographical span of any of the world's art traditions.
自然、人、物体——生命，以一种通用的方式在绘画中表现出来，这正如在拜占庭艺术或埃及墓葬艺术中对生命的表现一样。
Nature, people, objects - life in general, appear in a similar aim as in Byzantine art or the art of the dead in Egypt, using a universal style of making the painting.
本文依据出土墓葬的形制、随葬品的组合、陶院落的装饰艺术和时代特征等几个方面，对其年代进行了重新判定。
According to the shape of the tomb, combination of burial articles, and decorative art and epochal character of the pottery, the article reconfirms the time of the pottery ware.
过去，史学界主要注重于土司制度本身的研究，对于土司墓葬制度特别是石刻艺术、美学价值、社会功能等问题则很少涉及。
History scholars focused primarily on their own studies in the past, researched grave system of Tusi very few, especially art, aesthetic values, social function of stone sculptures.
过去，史学界主要注重于土司制度本身的研究，对于土司墓葬制度特别是石刻艺术、美学价值、社会功能等问题则很少涉及。
History scholars focused primarily on their own studies in the past, researched grave system of Tusi very few, especially art, aesthetic values, social function of stone sculptures.
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