河南淮阳泥泥狗图像的故事形态及其意象的审美潜能

发布时间：2019-06-24 22:12

【摘要】：本文以淮阳泥泥狗作为研究对象,着重探讨了泥泥狗图像的故事形态及其意象,并在此基础上深入分析泥泥狗的审美潜能。在具体的研究中,恪守情境原则,竭力迫近或修复对象所处的历史情境；以人类学、考古学、文献学、民俗学诸学科的方法与材料作为基础,对泥泥狗的故事与意象进行深入探讨,同时结合心理学、个体生态学对泥泥狗的审美潜能进行探析。本文主要由绪论、作为主体章节的三章和结论三大部分组成：第一章为绪论部分,对泥泥狗的研究现状进行了简要总结；考证了泥泥狗的名称与概念的变迁,同时也考证了泥泥狗的传统造型,为后面的研究奠定了基础。第二章从故事的维度对泥泥狗进行研究,以考古学、文献学、民俗学、语言学等证据为基础,分别考察了泥泥狗图像故事的三种主要形态：神话故事；民间故事；历史故事。第三章依托泥泥狗的图像故事,研究泥泥狗的意象系统,分别从图腾崇拜意象、自然崇拜意象、祖先崇拜意象与生殖崇拜意象四个方面进行阐述,论证了泥泥狗意象与东夷文化、西南少数民族文化的血脉关联,同时也展现了这些意象之间的微妙关系。第四章论述了泥泥狗的审美潜能。第一节分别从在触目性与秩序性的维度考察了泥泥狗图像的审美潜能,又从情境性、情节性与真实性的维度考察了泥泥狗图像故事的审美潜能。第二节则分析了泥泥狗意象的审美潜能,探讨了宗教性意象转变为审美意象的过程。第五章为余论部分,根据前面章节的分析,简明扼要地总结了本文研究的主要结论：1、泥泥狗身上承载了东夷文化之血脉,反映了东夷文化之鸟崇拜、日崇拜、月崇拜、虎崇拜等丰富历史信息；2、泥泥狗的意象、故事均与西南夷文化或西南少数民族文化有着千丝万缕的联系；3、东夷文化与西南夷文化之间有着传承关系：蚩尤、太昊被炎黄集团打败后退至江汉,形成三苗部族,在尧舜禹几代的打击下,三苗的一部分迁往西北,形成彝族、纳西族等崇虎的西南少数民族,一部分则被迫向四川盆地迁徙,建立巴国,更多的则向川、鄂、湘交界处的大山迁徙,形成今日之苗瑶等族；4、通过泥泥狗图像故事及其意象的研究,重新解释了盘古神话、西王母神话、夸父逐日等神话以及伏羲、太昊之间的关系,盘古为鸟神、西王母为虎神、夸父与伏羲均为虎部族首领,所有这些皆与东夷文化密切相关；5、泥泥狗图像的触目性、秩序性与泥泥狗图像故事的情境性、情节性、真实性都具有审美潜能；6、泥泥狗的宗教性意象在历史长河中逐渐褪去了功利性色彩,而转变成为审美意象,但是这种审美意象并非是完全非功利的,而是具有隐性的功利性的。
[Abstract]:Taking Huaiyang mud dog as the research object, this paper focuses on the story form and image of mud dog image, and on this basis, deeply analyzes the aesthetic potential of mud dog. In the concrete research, abide by the situational principle, try our best to approach or repair the historical situation of the object, based on the methods and materials of anthropology, archaeology, philology and folklore, this paper probes into the story and image of mud dog, and probes into the aesthetic potential of mud dog in combination with psychology and individual ecology. This paper is mainly composed of introduction, as the three chapters and conclusions of the main chapter: the first chapter is the introduction part, which makes a brief summary of the research status of mud dogs, and studies the changes of the name and concept of mud dogs, as well as the traditional modeling of mud dogs, which lays the foundation for the following research. The second chapter studies the mud dog from the dimension of the story, based on archaeology, philology, folklore, linguistics and other evidence, respectively examines the three main forms of mud dog image story: myth story, folk story and historical story. The third chapter, based on the image story of mud dog, studies the image system of mud dog, expounds it from four aspects: totem worship image, natural worship image, ancestor worship image and reproductive worship image, demonstrates the blood relationship between mud dog image and Dongyi culture and southwest minority culture, and also shows the subtle relationship between these images. The fourth chapter discusses the aesthetic potential of mud dogs. The first section examines the aesthetic potential of mud dog image from the dimension of touch and order, and also examines the aesthetic potential of mud dog image story from the dimension of situational, situational and authentic. The second section analyzes the aesthetic potential of mud dog image and discusses the process of turning religious image into aesthetic image. The fifth chapter is the remaining part, according to the analysis of the previous chapters, briefly summarizes the main conclusions of this study: 1, the mud dog carries the blood of Dongyi culture, reflecting the bird worship, day worship, moon worship, tiger worship and other rich historical information of Dongyi culture; 2, the image of mud dog is inextricably related to southwest Yi culture or southwest minority culture; 3. There is a inheritance relationship between Dongyi culture and southwest Yi culture: Chiyou and Taihao were defeated and retreated to Jianghan by Yanhuang Group to form three Miao tribes. under the attack of Yao Shunyu generations, part of the three Miao moved to the northwest, forming southwest ethnic minorities such as Yi and Naxi, some of whom were forced to migrate to Sichuan Basin, to establish Pakistan, and more to Dashan at the junction of Sichuan, Hubei and Hunan. The formation of today's Miao Yao and other ethnic groups; 4. through the study of the image story and image of mud dog, this paper reexplains the myths of Pangu mythology, western royal mother myth, Kufather's daily myth and the relationship between Fuxi and Taihao. Pangu is the bird god, the western royal mother is the tiger god, and the Kuafu and Fuxi are the leaders of the tiger tribe, all of which are closely related to Dongyi culture. 5. The touch, order and authenticity of the mud dog image have aesthetic potential. 6, the religious image of the mud dog has gradually faded the utilitarian color in the long history, and changed into the aesthetic image, but this aesthetic image is not completely non-utilitarian, but has hidden utilitarian.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J528

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