汉代瓦当的审美研究

发布时间：2018-08-17 11:25

【摘要】：瓦当的实物最早见于西周中晚期陕西扶风召陈遗址,从考古资料看,汉代瓦当出土数量最多,形式最为丰富,工艺质量最高,是我国古代瓦当艺术中独一无二的珍品。汉代瓦当主要出土于陕西、河南和山东三省,其中陕西西安一带最多,来自于建筑遗址、烧窑、灰坑及墓葬中,其最珍贵之处是它把实用与审美,功能与装饰完美地统一在全面搜集汉代瓦当相关研究资料及历史文献的基础上,本文运用历史分析和文献研究相结合、理论分析与个案研究相结合、历史资料与实物图案相结合及田野调查的方法,对汉代不同时期的瓦当图案,作社会时代背景和历史审美意识的研究。经过对汉代瓦当这一具体可感的艺术表现形式的历史语境的还原性分析,以及其所函蕴的社会审美文化及历史审美意识嬗变轨迹的理论性描述,可以知晓的是：汉代瓦当不仅具有历史考古的社会价值意义,亦具有审美的价值意义,而后者正是为学界所未重视的问题,而此正是本文的研究课题。汉代瓦当作为汉文化的一有机组成部分,它对之后的建筑文化、雕刻文化、书法文化等领域产生了深远的影响。本文在叙述说明学术界关于汉代瓦当的研究现状及研究此课题的学术价值意义的基础上,主要讨论了如下四个主要问题：第一部分,主要讨论汉前瓦当与审美意识,汉前的瓦、古代建筑、陶器、青铜器与瓦当,以及先秦至秦朝瓦当与审美文化研究之间的关系,并依此而进一步地探索瓦当的审美意识与社会历史文化之间的内在关系。第二部分,从汉代瓦当与所处时代文化,尤其是儒家思想之间的相互关系以及其发展与演变,来审视瓦当的造型、形式、纹饰等审美意象。并依此探索性地说明瓦当是实用性与审美性合为一体的典型表现形式。第三部分,主要探讨汉代瓦当的图案纹、图像纹所函蕴的审美意义。就图案纹而言,其审美意义主要体现为自然崇拜,就图像纹而言,其审美意义则主要体现为图腾崇拜。第四部分,系统性地讨论汉代各种文字瓦当所函蕴的一系列审美意识。并探索性地说明这一时期的瓦当在一定程度上是王权崇拜的一种特殊表现形式。依上探索,论文最后从审美文化的视域进一步比较明确地说明汉代瓦当是实用性与审美性合为一体的工艺性作品,与此同时,对汉代瓦当的研究前景作了方向性的展望。
[Abstract]:The object of Wadang was first found in the late Western Zhou Dynasty Shaanxi Fufeng Zaochen site. From the archaeological data, the Han Dynasty Wadang unearthed the largest number, the most abundant form, the highest technological quality, is our country ancient Wadang art unique treasures. In the Han Dynasty, Wadang was mainly unearthed in Shaanxi, Henan and Shandong provinces, of which Xi'an, Shaanxi Province, was the largest in the area. It came from architectural sites, kilns, ash pits and tombs. Its most precious place was its utility and aesthetic appreciation. Function and decoration are perfectly unified on the basis of collecting relevant research materials and historical documents of the Han Dynasty, this paper combines historical analysis with literature research, theoretical analysis and case study. Combining the historical data with the object pattern and the method of field investigation, this paper makes a study on the background of the society and the historical aesthetic consciousness of the Wadang pattern in different periods of the Han Dynasty. Through the analysis of the historical context of Wadang, a concrete and perceptible form of artistic expression in the Han Dynasty, as well as the theoretical description of the evolution of social aesthetic culture and historical aesthetic consciousness, What we can know is that Wadang in Han Dynasty not only has the social value meaning of historical archaeology, but also has the aesthetic value meaning, and the latter is the problem which has not been paid attention to by the academic circles, and this is the research topic of this paper. As an organic part of Han culture, Wadang in Han Dynasty had a profound influence on architectural culture, sculpture culture, calligraphy culture and so on. On the basis of describing the current research situation and the academic value significance of the research on Wadang in Han Dynasty, this paper mainly discusses the following four main problems: the first part, mainly discusses the pre-Han Wadang and aesthetic consciousness. The relationship between the pre-Han tile, ancient architecture, pottery, bronze ware and Wadang, as well as the study of Wadang and aesthetic culture from pre-Qin to Qin dynasties, and the internal relationship between Wadang's aesthetic consciousness and social, historical and cultural is further explored. The second part, from the Han Dynasty Wadang and the culture of the era, especially the Confucian thought of the relationship and its development and evolution, to examine the shape, form, decoration and other aesthetic images. And according to this exploratory explanation Wadang is a combination of practical and aesthetic as a typical form of expression. The third part, mainly discusses the Han Dynasty Wadang pattern, the image grain function connotation esthetic significance. As far as pattern is concerned, its aesthetic meaning is mainly reflected in nature worship, and in image pattern, its aesthetic meaning is mainly reflected in totem worship. The fourth part systematically discusses a series of aesthetic consciousness embodied in various characters of Han Dynasty. And explore this period of Wadang is to some extent a special form of Wang Quan worship. Finally, from the perspective of aesthetic culture, the thesis shows clearly that Wadang is a combination of practicality and aesthetics. At the same time, the research prospect of Wadang in Han Dynasty is prospected.
【学位授予单位】：西北大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J527;K876.3

【相似文献】