北方草原虎纹青铜纹饰研究
发布时间：2018-08-24 19:40
【摘要】：青铜至早期铁器时期的中国北方草原在北方民族史上具有变革性的意义。气候环境的转变促使了生业方式的变革,畜牧业从原始农业中分离,早期骑马民族诞生；文化艺术上,具有民族性地域性特征的北方草原青铜器艺术也在此时产生、发展并走向繁荣,形态不一的动物纹造型是北方草原青铜器最醒目的文化标志,以它为核心的青铜文化还包含了与域外、中原民族的文化交流与互动。然而笔者发现,在已有的研究中,从艺术研究的角度对动物纹进行的关注还不够深入。因此,笔者试图在此领域做出粗浅的探索。 本文选择在草原动物纹中出现频率较高,艺术表现最丰富,而且也是在所有关于草原青铜器的研究中最不被忽视的一个图像——“虎纹”作为对象,对其进行图像学的分析及相关文化内涵的探讨。本论文分为四个部分： 绪论部分主要介绍了文章选题的缘起和背景、选题的目的与意义；简述了相关的研究方法；梳理界定了相关概念；对相关的研究现状作了综述。 第一章主要概括了北方草原青铜器生成的地域环境及创造草原青铜器的历史人群和当时的经济形态等人文背景；此外本章还对草原青铜器动物纹的相关内容进行了阐述,探讨了学界存在的对我国北方草原青铜动物纹饰历史源流的一些看法和观点。 第二章首先详细梳理了目前虎纹青铜器的主要出土地区及出土种类等基本情况；对青铜器上的虎纹形象进行了类型学的划分；随后文章结合历史发展线索重点对虎纹的演变历程进行了分析。历时地看,虎纹装饰特征的发展从单一粗率到纷繁多元,最早出现于内蒙古东南部的夏家店上层文化并逐渐影响至河北等地；此后虎纹逐渐向西传播,这一过程中内蒙古东部的毛庆沟文化是其实现转变的重要地区,虎纹由早期的以伏卧为主的动态开始向伫立、咬斗等动态和内容发展；随着匈奴在北方草原兴起,虎纹在内蒙古的鄂尔多斯及甘宁地区达到鼎盛,这时的虎纹更多地表现了与欧亚草原青铜文化之间的密切联系；最后随着中原与游牧民族政治力量的变化,自两汉始以虎纹为主的草原动物纹饰逐渐走向衰亡。 第三章分为本体研究和文化阐释两大块,本体研究一部分主要对虎纹的艺术表现规律和艺术风格进行了归纳和总结；文化阐释一部分结合北方民族史和虎纹本身特点认为虎纹在北方民族的集体无意识中被作为灵性的生命体看待,其承载了巫术、象征和认同等文化功能。 北方草原青铜器是我国古代青铜文化的重要组成部分,它以苍劲洗练,带有野性气息的原初风格在我国青铜艺术史上独树一帜。以虎纹为代表的草原风格动物纹饰是草原民族在观察自然、感受自然和理解自然的过程中内心情感的真实再现,它们不仅展现了古代北方草原生机盎然的生活图景,其独到的艺术表现力和创造力还充分彰显了缔造这些艺术的草原民族独特的审美视角和审美情趣。
[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.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K876.41
本文编号：2201829
[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.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K876.41
【引证文献】
相关期刊论文 前1条
1 曹珊;;青铜器纹饰构成法探析[J];中国科教创新导刊;2013年10期
相关硕士学位论文 前1条
1 王飞;摩羯文饰的中国化进程及演变规律[D];内蒙古大学;2013年
，本文编号：2201829
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