甘青地区新石器时代乐舞资料浅论

发布时间：2018-02-25 08:32

本文关键词： 甘青地区新石器时代乐舞　出处：《西北师范大学》2010年硕士论文　论文类型：学位论文

【摘要】：黄厚明先生依据考古发掘所获资料,将我国史前音乐文化区划分为中原区、海岱区、甘青区、江汉及邻近区、环太湖区、辽河区等六大区域。基于这一观点,本文以甘青地区作为研究的空间范畴,以该地区富于代表性,且学界存有争议的新石器时代典型乐舞材料,即大地湾地画、上孙家寨彩陶盆舞蹈图案、宗日“二人抬物”彩陶盆及青海民和阳山、甘肃永登乐山坪所出陶鼓等为研究对象,对这一时空范畴中的乐舞形态及其思想内涵进行浅析。大地湾地画是我国迄今已知最早的建筑绘画作品,众多学者曾先后著文对地画含义及功用进行释读。本文第二章通过对地画上部人物、下部动物及人物左手动作的分析,认为该地画体现父系社会阶段“求丰育”的观念,是与巫术思想无关的装饰画。第三章在对上孙家寨彩陶盆舞蹈图案研究状况进行回顾的基础上,将其与同一考古学文化相似器物的横向比较,考证舞者臀部斜伸出之物为以写实手法描绘的男性生殖器;通过与岩画材料的对比分析,论证舞队外侧舞者的“双臂”为含有省略意义的抽象符号;以男性或女性作为主体的“丰产丰育”巫术,既有相通之处,又有微妙的差别。宗日“二人抬物”彩陶盆自发现以来,学界对其“二人抬物”图案先后作出过“公”礼说、夯筑墙体说及祈殖巫术说三种解释。第四章在将宗日“二人抬物”彩陶盆与宗日“一人持物”彩陶罐所绘图案进行横向比较的基础上,通过对马家窑文化出土陶鼓形制的分析,认为“二人抬物”及“一人持物”图案,或在表现马家窑文化先民们击鼓作乐的情景。方建军先生于1989年刊发《陶鼓之疑》一文,对能否将青海民和阳山、甘肃永登乐山坪及山西襄汾陶寺等遗址出土的“喇叭形陶器”定名为“陶鼓”提出质疑,并提出了4条理由。第五章在前人有关论述的基础上,对方先生提出的几点质疑略作论述。
[Abstract]:Based on the data obtained from archaeological excavations, Mr. Huang Houming divided the prehistoric music cultural area of China into six major areas, namely, the Central Plains, Haidai, Ganqing, Jianghan and its adjacent areas, the Taihu area and the Liaohe region. Based on this view, This paper takes Ganqing area as the research space category, and takes this area as the representative and controversial Neolithic music and dance materials, that is, the Dadiewan painting, the upper Sun Jiazhai painted pottery basin dance pattern. Zongri "two people carry things" painted pottery basin and Qinghai Minhe Yangshan, Gansu Yongdeng Leshan Ping pottery drum as the research object, this paper analyzes the music and dance form and its ideological connotation in this space-time category. Dadi Wan is one of the earliest known architectural paintings in China so far. Many scholars have successively interpreted the meaning and function of earth painting. The second chapter of this paper analyzes the movements of the upper characters, the lower animals and the left hand of the characters. It is considered that the concept of "seeking abundance and nurturing" in the patrilineal society is a decorative painting which has nothing to do with witchcraft. The third chapter, on the basis of reviewing the research situation of the dance pattern of Shangsun Jia Zhai painted pottery basin, compares it with the similar objects of the same archaeological culture, and proves that the object of the dancer's buttocks is the male genitals depicted by realistic techniques. Through the comparison and analysis with the rock painting materials, it is demonstrated that the "arms" of the outside dancers of the dance team are abstract symbols with the meaning of ellipsis, and that the witchcraft of "high yield and abundant breeding" with male or female as the main body has both similarities and subtle differences. Since the discovery of the painted pottery basin, the academic circles have successively made a "public" ceremony on the design of "carrying objects by two people". On the basis of the horizontal comparison between the painted pottery basin of Zongri "two people lifting things" and the patterns drawn by Zongri "one person holding" colored pottery pot, the analysis of the shape of pottery drum unearthed in Majiayao culture is made in Chapter 4th, which is based on the three explanations of ramming the wall and praying for witchcraft. It is considered that the patterns of "two people lifting things" and "one person holding things" or the scenes of the ancestors of Majiayao culture playing drums and making music. In 1989, Mr. Fang Jian-jun published an article called "Pottery Drum", questioning whether the "trumpet pottery" unearthed from Minhe Yangshan, Yongdeng, Leshanping, Gansu, and Xiangfen, Shanxi Province, can be named "Pottery Drum." And put forward four reasons. Chapter 5th on the basis of previous expositions, the other Mr. put forward a few doubts.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K879.4

【相似文献】