鄂尔多斯青铜饰牌马纹鹿纹造型研究

发布时间：2018-01-26 10:28

本文关键词： 鄂尔多斯青铜饰牌马纹鹿纹审美文化内涵　出处：《中央民族大学》2010年硕士论文　论文类型：学位论文

【摘要】： 本研究是一项以美学为主要研究视角,采用器物形制研究、文献研究及历史研究相结合的研究方法,通过对鄂尔多斯青铜饰牌中马纹和鹿纹的纹饰造型研究,揭示出在鄂尔多斯青铜饰牌这种艺术背后的民族审美模式和文化内涵。本研究是一项家乡民族的审美研究。在研究过程中,作者曾多次前往鄂尔多斯地区调查,取得了大量的有关鄂尔多斯青铜器的人文背景资料,并且在最近一次田野调查中,集中对鄂尔多斯青铜博物馆及内蒙古博物院参观研究,并且拍摄了大量的青铜饰牌图片,为本研究提供了充分的材料。自19世纪起,在我国长城沿线地带,陆续有动物纹青铜器出土,这类器物独具草原特色,主要集中在鄂尔多斯及周边地区,故称为鄂尔多斯青铜器。鄂尔多斯青铜器是以匈奴族为主的活跃在北方草原的古代先民创造的,相当于从商周到东汉末期,历经千年。在缺少文字记载的古代,鄂尔多斯青铜器无疑是为历史研究提供了第一手的生动的资料。目前,建于我国内蒙古东胜市的鄂尔多斯青铜博物馆收录了鄂尔多斯青铜器一万余件,在呼和浩特市的内蒙古博物院也有部分收藏,同时,由于历史原因,流传到海外的鄂尔多斯青铜器也有相当数量,目前,在美国纽约大都会博物馆、大英博物馆、瑞典远东博物馆、日本东京博物馆都有收藏。其中,青铜饰牌颇具代表性,而马纹和鹿纹两种纹饰的饰牌数量居多,极具象征性。北方游牧民族自古就是马背上的民族。气候、地形、资源等因素造就了这个民族的好战、粗犷、勇猛的个性,就像马儿一样有着健壮的体魄,无拘无束地在草原上驰骋。马就成为了北方草原民族的代名词。北方草原先民过着游牧的生活,马儿是重要的交通工具,承载着这个民族过着千年的迁徙生活；北方草原先民又是好战的民族,勇士与猛兽或是勇士之间的搏斗更是离不开战马。因此,北方草原先民对马有着特殊的情感,马儿甚至被神化。而鹿的善良温顺,恰恰体现着北方草原先民追求和平,恬静自得的生活状态。内蒙古的包头市,“包头”翻译成蒙文即“有鹿的地方”。同时,亚欧草原上流行的“鹿石文化”也与鄂尔多斯青铜器中的鹿纹饰牌有着千丝万缕的联系,因此,鹿纹在北方草原先民的生活中也有着重要的意义。在鄂尔多斯青铜饰牌中,还有一类动物搏斗或撕咬的纹饰,其中以虎咬鹿最为多见,在这一类饰牌中,歌颂的是北方草原先民犹如猛兽般的强壮的体魄,体现着一种兽型艺术类比的美学思想。本研究从马纹及鹿纹的造型艺术特征着手,找出饰牌的单纯、对称、有节奏感的美学规律及狂野、朴拙之艺术风格,通过饰牌与宗教、文化之间的联系,分析北方草原先民对马的神化及追求和平的审美心理。
[Abstract]:This research is based on aesthetics, by means of the combination of object shape research, literature research and historical research, through the study of the patterns of horse and deer patterns in the bronze plate of Ordos. It reveals the national aesthetic pattern and cultural connotation behind the art of Bronze Decoration in Ordos. In the course of the study, the author went to Erdos region many times to investigate, and obtained a lot of humanistic background information about the bronze ware in Ordos. In a recent field survey, the study focused on the Ordos Bronze Museum and Inner Mongolia Museum, and took a large number of bronze plate pictures, which provided sufficient materials for this study. Since 19th century, along the the Great Wall in China, there have been unearthed animal grain bronzes, which have unique grassland characteristics, mainly concentrated in Ordos and its surrounding areas. Therefore called Ordos bronzes. Ordos bronzes are mainly Hun people active in the northern grassland of the ancient ancestors created, equivalent to the end of the Eastern Han Dynasty, after thousands of years. In the lack of written records of the ancient times. There is no doubt that Ordos Bronze provides first-hand and vivid information for historical research. At present, the Ordos Bronze Museum, built in Dongsheng, Inner Mongolia, contains more than 10,000 Ordos bronzes. In Hohhot City, Inner Mongolia Museum also has some collections, at the same time, due to historical reasons, there are a considerable number of bronzes spread overseas, at present, in the Metropolitan Museum of New York. The British Museum, the Swedish Museum of the far East and the Tokyo Museum of Japan all have collections. Among them, bronze medals are representative, while horse and deer patterns are the most numerous and symbolic. The nomadic people of the north have been the people on horseback since ancient times. The climate, topography, resources and other factors have created the belligerent, rugged, brave personality of this people, just like horses have a strong physique. The horse became the synonym of the northern grassland nation. The northern grassland ancestors lived a nomadic life, and the horse was an important means of transportation, carrying the nation for thousands of years of migration. The ancestors of the northern grasslands were belligerent, and the fighting between the warriors and the beasts or the warriors could not be separated from the horses. Therefore, the ancestors of the northern grasslands had special feelings for the horses. Horses are even deified. And the docile deer exactly reflects the northern grassland ancestors pursuit of peace, quiet and self-satisfied state of life. Baotou City, Inner Mongolia. Baotou is translated as "where there are deer". At the same time, the popular "deer culture" on the Eurasian steppe is inextricably related to the deer patterns in bronze ware in Ordos. Deer patterns are also of great significance in the life of the ancestors of the northern grasslands. In the bronze medal of Ordos, there is also a kind of animal fighting or biting ornaments, among which the tiger bite deer is the most common, in this kind of decoration card. It is the strong physique of the ancestors of the northern prairie, which embodies the aesthetic thought of the comparison of the art of the animal type. This study starts with the stylistic characteristics of horse and deer stripes, and finds out the simple, symmetrical, rhythmic aesthetic law and wild, honest artistic style of the card, through the relationship between the card and religion, culture. This paper analyzes the divinity of horses and the aesthetic psychology of seeking peace among the ancestors of the northern grasslands.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K876.41

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