青铜时代蒙古高原鹿造型艺术研究

发布时间：2018-03-29 19:22

本文选题：青铜器　切入点：鹿造型艺术　出处：《内蒙古大学》2012年博士论文

【摘要】：鹿崇拜是我们祖先从远古开始有的一种自然崇拜意识,这种意识因受到信仰、习俗、生活方式、以及气候、地理等因素的影响,不断演变和发展着。这种演变和发展在岩画、鹿石和其他实物载体中得到了反映,并且保留至今。从民间文学、传说、颂辞、谜语、游戏等精神文化载体中亦能找到其艺术化的痕迹。由此不难看出古人在整个生产、生活过程中视鹿为正面形象并当做图腾神物来崇拜的事实。长期以来人们利用上述不同载体,从历史学、考古学、文化人类学、符号语言学等方面对鹿崇拜进行研究,取得了可喜的成果。但从造型艺术角度进行研究的成果尚未问世。因此我们试图涉足这一领域,做些力所能及的探索,以弥补这方面的研究空白。本文以蒙古高原青铜时代历史文化遗产中留存的鹿造型、创作时空、历史沿革等为切入点,运用造型艺术的基本理论对岩画、鹿石和其他实物上的鹿造型的各种变体,创造思路,选材名题等进行比较研究。与此同时,对于当时艺术家基于自己信念刻画出的抽象化造型进行了观察和总结。本文由以下五个部分组成。其一、对蒙古高原青铜时代岩画中的鹿造型进行了分类和辨析；其二、对青铜晚期,铁器早期的鹿石艺术构思、绘画语言、相互联系进行了比较研究；其三、对鄂尔多斯式青铜器中的鹿纹图案进行了比较研究。其四、从鹿造型艺术观察当时艺术家创造意识,探讨了青铜器时代以鹿石为代表的动物造型在游牧人艺术作品中的地位；其五、从历史遗物、民俗用品等实物载体和传说、颂词、游戏等精神文化载体的层面上,探讨了游牧人精神世界中的鹿是怎样被刻画的问题。如果说本文一定程度上拓展了蒙古高原游牧人造型艺术以及艺术史的研究领域,应归功于那些历史学家、考古学家的研究成果和考古发现。今后我们如从地理分布,造型类别,造型的内涵、寓意,创作者抽象思维能力、图腾崇拜等方方面面进行进一步深入的研究,必定取得更好的研究成果。
[Abstract]:Deer worship is a natural worship consciousness that our ancestors began to have from ancient times. This consciousness is constantly evolving and developing because of the influence of belief, custom, lifestyle, climate, geography, and so on. Deer stone and other physical carriers have been reflected, and still remain. From folklore, legends, eulogies, riddles, games and other spiritual and cultural carriers can also find its artistic traces. It is not difficult to see the ancients in the entire production, The fact that deer is regarded as a positive image and worshipped as a totem in life. For a long time people have used these different carriers to study deer worship from the aspects of history, archaeology, cultural anthropology, symbolic linguistics, etc. Gratifying results have been achieved, but the research results from the perspective of plastic arts have not yet come out. Therefore, we try to step into this field and do some exploration within our ability to fill up the research gaps in this field. Based on the deer modeling, creation time and space, historical evolution and so on retained in the historical and cultural heritage of the Mongolian plateau bronze age, this paper applies the basic theory of plastic arts to the various variants of rock painting, deer stone and other physical deer modeling. At the same time, the abstract modeling described by artists based on their own beliefs was observed and summarized. This paper is composed of the following five parts. Firstly, the paper classifies and discriminates the deer shapes in the Mongolian plateau bronze age rock paintings; secondly, it makes a distinction between the late bronze and the early iron art conception and painting language. The paper makes a comparative study of the interrelation. Thirdly, it makes a comparative study of the deer patterns in the Ordos bronze ware. Fourthly, the artist's creative consciousness is observed from the deer styling art. This paper discusses the status of animal modeling represented by deer stone in the art works of nomadic people in the bronze age. Fifthly, from the aspects of historical relics, folk articles and other physical carriers and legends, carols, games and other spiritual and cultural carriers, This paper discusses how deer in the spiritual world of nomadic people are depicted. If this article has to some extent expanded the research field of nomadic plastic arts and art history on the Mongolian plateau, it should be attributed to the research results and archaeological discoveries of historians and archaeologists. Further research on modeling category, connotation, implication, abstract thinking ability, totem worship and so on will lead to better research results.
【学位授予单位】：内蒙古大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：K871

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