崧泽、良渚文化三大纹样母题研究

发布时间：2018-05-31 12:47

本文选题：崧泽文化 + 良渚文化　；参考：《南京大学》2011年博士论文

【摘要】：环太湖地区新石器时代的马家浜——崧泽——良渚文化序列,自上世纪八十年代以来已经确立了它在整个中国史前文化格局中的定位,随着中华文明起源过程中的地位、以及“玉器时代”概念的探索,对这一时期重要的纹样母题的系统研究,不仅有助于考古学中精神领域以及早期美术史研究的深入,同时对于良渚文化区域性研究提供了新的研究视角。本文的研究在环太湖地区史前文化考古发掘和研究的基础上,论述结构以该地区崧泽——良渚文化三大纹样母题为中心,通过点线结合的方式：长时段个体纹样发展的单线衍变,结合三者的汇合点,点线及面,从而了解良渚文化在史前社会文明化进程中所具有的普遍性与特殊性。其中,纹样母题的研究一方面在宏观上以区域性考察为主,另一方面在微观上注重形式细节的把握,运用符号学、图像学等方法,结合考古学背景对环太湖地区新石器时代晚期进行了风格上的阶段性和特征性划分。本文首先对研究对象进行了简单的介绍：作为崧泽——良渚文化的三个纹样母题：圆和弧边三角、鸟形象、螺旋纹,它们分别是这支文化序列中兴盛一时的图纹母题,它们的发展历程伴随着崧泽——良渚文化从发展、兴盛、走向衰落。最为重要的是,在良渚文化兴盛时期,它们是构成良渚文化鼎盛时期观念之集大成者——玉器上神人兽面像的单元构成；其次,分别在后面的三章中对三个纹样母题各自的形成发展轨迹进行了追述。崧泽晚期盛行的圆和弧边三角,作为早期太阳崇拜的标志,进入玉器神人兽面像的图像组合系统中,构成最主要的兽目结构；第二个纹样母题鸟形象历时已久,从河姆渡文化到良渚文化,构建起环太湖地区人们崇鸟的实用性与礼仪化相结合的思维结构；在与神人兽面像同出的鸟形象,同时与兽目具有相同结构,彰显出三位一体的原始宗教意义；至良渚晚期鸟首与螺旋纹的组合,成为最显著的观念物化图纹；第三个螺旋纹,总是作为附生形式出现,从前期与圆和弧边三角组合开始,中期同样大量出现于神人兽面像体系中,良渚晚期同鸟首的组合,可能预示着良渚人新的崇拜观念之物。在此基础上,文章最后再次强调这三个纹样母题最大的意义所在：第一它们作为单元结构系统搭建了良渚精神领域集中反映的神人兽面像,第二组合形成中国早期想象物的崇拜；进而总结出环太湖地区史前文化信仰的特殊性：从自然崇拜(太阳崇拜)——祖先崇拜——想象物的崇拜,折射出的社会变化为发展中的民众信仰——集权社会的信仰——良渚社会集权瓦解后,意识形态松散,民众开始的意象物崇拜阶段,开启了中国对于想象物——龙、凤的先河；这三个纹样母题在风格上分别为风格化时期、古典时期与符号化时期。
[Abstract]:The sequence of Majiabang-Songze-Liangzhu Culture in the Neolithic Age around Taihu Lake area has established its position in the whole prehistoric cultural pattern of China since the 1980s, along with the position in the process of the origin of Chinese civilization. And the exploration of the concept of "Jade Age", the systematic study of the important motif of pattern in this period, is not only helpful for the further study of the spiritual field of archaeology and the history of early art. At the same time, it provides a new perspective for the regional study of Liangzhu culture. On the basis of archaeological excavations and studies of prehistoric culture around Taihu Lake, this paper discusses the structure centered on the three patterns motifs of Songze Liangzhu Culture in this area. Through the combination of dots and lines: the single-line evolution of individual pattern development in a long period of time, and the confluence, point line and surface of the three, we can understand the universality and particularity of Liangzhu culture in the process of prehistoric social civilization. Among them, on the one hand, the research of pattern motif is mainly based on regional investigation, on the other hand, it pays attention to the grasp of formal details at the micro level, and applies the methods of semiotics and graphology. According to the archaeological background, the late Neolithic period in Taihu Lake area was divided into stages and characteristics. This paper first introduces the research object simply: as the three motifs of Songze Liangzhu culture: circular and arc triangle, bird image, spiral pattern, they are the motif of this cultural sequence for a while. Their development process accompanied by Song-Ze-Liangzhu culture from the development, prosperity, decline. Most importantly, during the flourishing period of Liangzhu culture, they were the units that formed the concept of the peak of Liangzhu culture-the figure of the gods and beasts on jade objects; secondly, In the following three chapters, the formation and development of each of the three motifs are reviewed. As a symbol of early solar worship, the circular and arc-edge triangles, which prevailed in Songze's late period, entered the image combination system of the Jade Goddess's animal faces and formed the most important structure of the order of Animals. The second motif of the motif bird image lasted a long time. From Hemudu culture to Liangzhu culture, a thinking structure combining the practicability and propriety of bird worship among people around Taihu Lake was constructed. Showing the primitive religious significance of the trinity; the combination of the head of the bird and the spiral pattern in the late Liangzhu period became the most obvious materialized figure of the concept; the third spiral pattern, which always appeared as an epiphytic form, began with the combination of the prophase and the circular and arc triangles. The combination of Liangzhu late period and bird head may indicate the new worship idea of Liangzhu people. On the basis of this, the paper emphasizes again the greatest significance of these three motifs: first, as a unit structure system, they set up the images of god, man and beast, which are mainly reflected in the field of Liangzhu spirit. The second group formed the worship of the early imagination in China, and summed up the particularity of the prehistoric cultural belief around Taihu Lake: from the nature worship (sun worship-ancestor worship-imagination worship), The social changes reflected are the people's belief in the developing totalitarian society-Liangzhu society after the collapse of centralization of power, the loose ideology, the people began the stage of image worship, which opened the first stage of China for imagination-dragon, Phoenix; The three motifs are stylistic, classical and symbolic.
【学位授予单位】：南京大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：K879.4

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