【摘要】：青銅至早期鐵器時期的中國北方草原在北方民族史上具有變革性的意義。氣候環(huán)境的轉(zhuǎn)變促使了生業(yè)方式的變革,畜牧業(yè)從原始農(nóng)業(yè)中分離,早期騎馬民族誕生；文化藝術(shù)上,具有民族性地域性特征的北方草原青銅器藝術(shù)也在此時產(chǎn)生、發(fā)展并走向繁榮,形態(tài)不一的動物紋造型是北方草原青銅器最醒目的文化標(biāo)志,以它為核心的青銅文化還包含了與域外、中原民族的文化交流與互動。然而筆者發(fā)現(xiàn),在已有的研究中,從藝術(shù)研究的角度對動物紋進行的關(guān)注還不夠深入。因此,筆者試圖在此領(lǐng)域做出粗淺的探索。 本文選擇在草原動物紋中出現(xiàn)頻率較高,藝術(shù)表現(xiàn)最豐富,而且也是在所有關(guān)于草原青銅器的研究中最不被忽視的一個圖像——“虎紋”作為對象,對其進行圖像學(xué)的分析及相關(guān)文化內(nèi)涵的探討。本論文分為四個部分： 緒論部分主要介紹了文章選題的緣起和背景、選題的目的與意義；簡述了相關(guān)的研究方法；梳理界定了相關(guān)概念；對相關(guān)的研究現(xiàn)狀作了綜述。 第一章主要概括了北方草原青銅器生成的地域環(huán)境及創(chuàng)造草原青銅器的歷史人群和當(dāng)時的經(jīng)濟形態(tài)等人文背景；此外本章還對草原青銅器動物紋的相關(guān)內(nèi)容進行了闡述,探討了學(xué)界存在的對我國北方草原青銅動物紋飾歷史源流的一些看法和觀點。 第二章首先詳細梳理了目前虎紋青銅器的主要出土地區(qū)及出土種類等基本情況；對青銅器上的虎紋形象進行了類型學(xué)的劃分；隨后文章結(jié)合歷史發(fā)展線索重點對虎紋的演變歷程進行了分析。歷時地看,虎紋裝飾特征的發(fā)展從單一粗率到紛繁多元,最早出現(xiàn)于內(nèi)蒙古東南部的夏家店上層文化并逐漸影響至河北等地；此后虎紋逐漸向西傳播,這一過程中內(nèi)蒙古東部的毛慶溝文化是其實現(xiàn)轉(zhuǎn)變的重要地區(qū),虎紋由早期的以伏臥為主的動態(tài)開始向佇立、咬斗等動態(tài)和內(nèi)容發(fā)展；隨著匈奴在北方草原興起,虎紋在內(nèi)蒙古的鄂爾多斯及甘寧地區(qū)達到鼎盛,這時的虎紋更多地表現(xiàn)了與歐亞草原青銅文化之間的密切聯(lián)系；最后隨著中原與游牧民族政治力量的變化,自兩漢始以虎紋為主的草原動物紋飾逐漸走向衰亡。 第三章分為本體研究和文化闡釋兩大塊,本體研究一部分主要對虎紋的藝術(shù)表現(xiàn)規(guī)律和藝術(shù)風(fēng)格進行了歸納和總結(jié)；文化闡釋一部分結(jié)合北方民族史和虎紋本身特點認為虎紋在北方民族的集體無意識中被作為靈性的生命體看待,其承載了巫術(shù)、象征和認同等文化功能。 北方草原青銅器是我國古代青銅文化的重要組成部分,它以蒼勁洗練,帶有野性氣息的原初風(fēng)格在我國青銅藝術(shù)史上獨樹一幟。以虎紋為代表的草原風(fēng)格動物紋飾是草原民族在觀察自然、感受自然和理解自然的過程中內(nèi)心情感的真實再現(xiàn),它們不僅展現(xiàn)了古代北方草原生機盎然的生活圖景,其獨到的藝術(shù)表現(xiàn)力和創(chuàng)造力還充分彰顯了締造這些藝術(shù)的草原民族獨特的審美視角和審美情趣。
[Abstract]:From the Bronze Age to the Early Iron Age, the northern grassland of China had a revolutionary significance in the history of the northern nationalities. The change of climate and environment promoted the change of life style, the separation of animal husbandry from the primitive agriculture, and the birth of the early horse riding nationalities. The animal patterns with different shapes are the most striking cultural symbols of the bronze wares in the northern grassland. The bronze culture centered on them also includes the cultural exchanges and interactions with the peoples of the Central Plains and other regions. Therefore, the author tries to make a superficial exploration in this field.
This paper chooses "tiger print", which is the most frequently seen and richest artistic expression in the grassland animal grain, and is the least neglected image in all research on grassland bronze ware, as the object of study. It carries on the image analysis and the related cultural connotation discussion to it. This paper is divided into four parts:
The introduction mainly introduces the origin and background of the topic selection, the purpose and significance of the topic selection, briefly describes the relevant research methods, combs and defines the relevant concepts, and summarizes the related research status.
The first chapter mainly summarizes the regional environment of the bronze wares in the northern grassland and the cultural background of the people who created the bronze wares in the northern grassland and the economic form at that time. Some opinions and opinions.
In the second chapter, firstly, the main unearthed areas and types of tiger-print bronze wares are sorted out in detail, and the image of tiger-print on bronze wares is typologically classified; then, the evolution process of tiger-print is analyzed with the clue of historical development. The tiger striations first appeared in the upper culture of Xiajiadian in southeastern Inner Mongolia and gradually influenced Hebei and other places. Since then, the tiger striations gradually spread westward. In this process, the Maoqinggou culture in eastern Inner Mongolia was an important area for its transformation. The tiger striations began to stand and bite from the early dynamic of lying in the prone to the standing and fighting. With the rise of the Huns in the northern grasslands, the tiger print in the Ordos and Ganning areas of Inner Mongolia reached its peak. At this time, the tiger print more showed the close relationship with the Eurasian grassland bronze culture; finally, with the change of political power between the Central Plains and nomadic peoples, the tiger print-based grassland animal decoration began in the Han Dynasty. Gradually decline.
The third chapter is divided into two parts: the ontological study and the cultural interpretation. The ontological study mainly summarizes the artistic expression law and the artistic style of the tiger print; the cultural interpretation part considers that the tiger print is regarded as the spiritual life body in the collective unconsciousness of the northern nationalities in combination with the history of the northern nationalities and the characteristics of the tiger print itself. It carries the cultural functions of witchcraft, symbolism and identity.
The northern grassland bronze ware is an important part of the ancient Chinese bronze culture. Its original style is unique in the history of bronze art. The grassland animal decoration represented by tiger pattern is the true feeling of grassland people in the process of observing and feeling nature and understanding nature. Reproduction, they not only show the vitality of the ancient northern grasslands of life picture, its unique artistic expression and creativity also fully demonstrated the creation of these arts of the grassland nation's unique aesthetic perspective and aesthetic taste.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K876.41

【引證文獻】

相關(guān)期刊論文 前1條

1 曹珊;;青銅器紋飾構(gòu)成法探析[J];中國科教創(chuàng)新導(dǎo)刊;2013年10期

相關(guān)碩士學(xué)位論文 前1條

1 王飛;摩羯文飾的中國化進程及演變規(guī)律[D];內(nèi)蒙古大學(xué);2013年

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本文編號：2201829