解析屈骚文学与荆楚图形的趋同性
发布时间：2019-02-19 18:37
【摘要】： 屈骚文学与荆楚图形是楚文化的两种艺术,从两个不同层面体现了楚艺术的丰富内涵,屈骚文学是中国浪漫主义文学的起源,荆楚图形则体现了我国历史文化发展中楚地极具鲜明的艺术特色,两者都对楚文化作了不同角度的诠释。 楚地原有的巫筮文化对楚艺术的发展起到了很大的作用,并且一直贯穿于楚艺术的发展脉络。屈骚文学中对诸神、山鬼以及各种神话形象的刻画体现了楚人的丰富想象能力。楚地的龙、凤装饰纹饰同样体现出楚人的原始崇拜思想。 楚艺术的开放性与连续性特征,是屈骚文学与荆楚图形得以发展的重要基础,屈骚文学大部分就是对当时楚地的各种神话传说加以艺术的处理,从而得以发展。楚地原有的艺术受中原文化的影响很大,后期综合自己本地的艺术特色并加以创造,极具特色。 楚艺术是集开放与融合的集合体,楚艺术当时主要受中原文化的影响,所以当时楚艺术的基本面貌基本可以用商周时期的一些艺术风格来代替。文中讲述的一些例子就是根据楚艺术发展与融合的特性而得来的,如对荆楚图形中的宗教神话特征就主要运用了商周时期的饕餮纹来进行论证。 屈骚文学与荆楚图形的趋同性研究是文章的主题,史上对两者的研究比较多,不过都是对其单独学科研究的较多,尤其是对屈骚文学的研究很深入,屈骚文学的研究成果中多数是从文学艺术的角度来进行分析的,而少艺术美学方面的研究,荆楚图形主要是视觉上的艺术形式,故视觉艺术与文学艺术中间需要找到共同的切入点。 本论文的基本框架,可以分为四个部分: 第一部分(第1章),主要是对楚文化整体价值进行阐述,对楚文化的艺术成果进行了详细的解释,并对屈骚文学与荆楚图形的发展根源进行了探究。进而对屈骚文学与荆楚图形的范围进行了界定。 第二部分(第2章),简略的从现代文化艺术的角度讲两种艺术的共性尽享了讲解。 第三部分(第3章至第5章),论文核心部分,从文化特征、精神特征与美学特征三个方面对屈骚文学与荆楚图形的趋同性进行了详细的讲解,从而发掘出两种艺术之间的共同点。 第四部分(第6章),论文结论,总结了论文的论点与有待深入的问题
[Abstract]:Qu Sao literature and Jing Chu figure are two kinds of arts of Chu culture. They embody the rich connotation of Chu art from two different levels. Qu Sao literature is the origin of Chinese Romantic literature. Jingchu figure reflects the distinct artistic characteristics of Chu ground in the development of Chinese history and culture, and both of them have made different interpretations of Chu culture from different angles. The original culture of divination in Chu played a great role in the development of Chu art, and has been running through the development of Chu art. The depiction of gods, mountain ghosts and various mythological images in qu Sao's literature embodies the rich imagination of Chu people. The dragon and Phoenix decorative ornaments of Chu also reflect the primitive worship thought of Chu people. The openness and continuity of Chu art are the important basis for the development of qu Sao literature and Jing Chu figure. Most of qu Sao literature is to deal with various myths and legends in Chu area at that time, and thus to develop. The original art of Chu was greatly influenced by the culture of Central Plains. Chu art is a collection of open and integrated collection, Chu art was mainly affected by the Central Plains culture, so the basic appearance of Chu art can be replaced by some artistic styles of Shang and Zhou dynasties. Some examples described in this paper are based on the characteristics of the development and integration of Chu art. For example, the religious mythological characteristics of Jingchu figure mainly use the Taotie grain of Shang and Zhou dynasties to demonstrate. The research on the convergence of qu Sao literature and Jing Chu figure is the theme of the article. In the history, there have been many studies on them, but both of them have been studied more on their own subjects, especially on qu Sao's literature. Most of the research results of qu Sao's literature are analyzed from the angle of literature and art, but less research on art aesthetics, Jingchu figure is mainly visual art form. Therefore, visual art and literature need to find a common breakthrough point. The basic framework of this paper can be divided into four parts: the first part (Chapter 1), mainly expounds the overall value of Chu culture, and explains the artistic achievements of Chu culture in detail. And to qu Sao literature and Jingchu figure development of the root of the exploration. Then it defines the scope of qu Sao's literature and Jingchu figure. The second part (Chapter 2), briefly from the point of view of modern culture and art to explain the similarities of the two arts. The third part (chapter 3 to chapter 5), the core part of the paper, from the cultural characteristics, spiritual characteristics and aesthetic characteristics of the qu Sao literature and Jingchu graphics convergence of three aspects of a detailed explanation, In order to discover the common ground between the two kinds of art. The fourth part (Chapter 6), the conclusion of the paper, summarizes the thesis's arguments and the problems that need to be further explored.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I206.2;J120.9
本文编号：2426751
[Abstract]:Qu Sao literature and Jing Chu figure are two kinds of arts of Chu culture. They embody the rich connotation of Chu art from two different levels. Qu Sao literature is the origin of Chinese Romantic literature. Jingchu figure reflects the distinct artistic characteristics of Chu ground in the development of Chinese history and culture, and both of them have made different interpretations of Chu culture from different angles. The original culture of divination in Chu played a great role in the development of Chu art, and has been running through the development of Chu art. The depiction of gods, mountain ghosts and various mythological images in qu Sao's literature embodies the rich imagination of Chu people. The dragon and Phoenix decorative ornaments of Chu also reflect the primitive worship thought of Chu people. The openness and continuity of Chu art are the important basis for the development of qu Sao literature and Jing Chu figure. Most of qu Sao literature is to deal with various myths and legends in Chu area at that time, and thus to develop. The original art of Chu was greatly influenced by the culture of Central Plains. Chu art is a collection of open and integrated collection, Chu art was mainly affected by the Central Plains culture, so the basic appearance of Chu art can be replaced by some artistic styles of Shang and Zhou dynasties. Some examples described in this paper are based on the characteristics of the development and integration of Chu art. For example, the religious mythological characteristics of Jingchu figure mainly use the Taotie grain of Shang and Zhou dynasties to demonstrate. The research on the convergence of qu Sao literature and Jing Chu figure is the theme of the article. In the history, there have been many studies on them, but both of them have been studied more on their own subjects, especially on qu Sao's literature. Most of the research results of qu Sao's literature are analyzed from the angle of literature and art, but less research on art aesthetics, Jingchu figure is mainly visual art form. Therefore, visual art and literature need to find a common breakthrough point. The basic framework of this paper can be divided into four parts: the first part (Chapter 1), mainly expounds the overall value of Chu culture, and explains the artistic achievements of Chu culture in detail. And to qu Sao literature and Jingchu figure development of the root of the exploration. Then it defines the scope of qu Sao's literature and Jingchu figure. The second part (Chapter 2), briefly from the point of view of modern culture and art to explain the similarities of the two arts. The third part (chapter 3 to chapter 5), the core part of the paper, from the cultural characteristics, spiritual characteristics and aesthetic characteristics of the qu Sao literature and Jingchu graphics convergence of three aspects of a detailed explanation, In order to discover the common ground between the two kinds of art. The fourth part (Chapter 6), the conclusion of the paper, summarizes the thesis's arguments and the problems that need to be further explored.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I206.2;J120.9
【引证文献】
相关硕士学位论文 前1条
1 肖文静;基于城墙遗址保护利用的荆州环城公园建设研究[D];华中农业大学;2010年
，本文编号：2426751
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