甲骨文金文文象关系比较研究

发布时间：2018-05-24 21:30

本文选题：甲骨文 + 金文　；参考：《中国海洋大学》2010年硕士论文

【摘要】： 本文通过对甲骨文“兆纹—文字”与钟鼎器“纹饰一文字”进行互证性“文象关系”比较,得出甲骨文到金文的转变不仅是文字载体和文字字体的转变,在深层次上还体现出汉字由仪式时代向文本时代转变的意义特征。本文共分为三部分：第一部分为概述部分,该部分介绍了本文的选题宗旨、研究概况、研究意义、理论依据和研究方法等。第二部分为甲骨文金文文象关系的符号学对比研究,该部分为论文的主体,分为三个部分。首先,探究殷商到西周时期的思想变化,殷商注重“巫神”的占卜仪式,西周则更加注重“礼制”的人本思想。甲骨占卜的地位下降,礼制兴盛,促进了钟鼎文的发展。这是甲骨文到金文转变的一个思想基础。其次,甲骨文自身具有强烈的巫神仪式场色彩,神以兆纹的在场来体现自身的在场,甲骨卜辞虽然出现但尚不独立,从属于兆纹。随着社会历史发展,甲骨占卜自身的发展经历了“有兆无文—文兆互补—文兆分离”三个阶段,这三个阶段恰恰也和整个汉字系统的演变轨迹相契合,即“无文字时代一文字从属于图像符号—文字从图像中独立出来成为一个自足系统”三个阶段。再次,钟鼎文不同于甲骨文,通过钟鼎纹饰和金文二者的共同结合来体现意义。纹饰是远古宗教、巫神、图腾的孑遗,作为钟鼎彝器的象符号,它与巫神相联系；金文则铭刻历史事实,与人相联系。因此钟鼎彝器上面包括了两种意识,一种是巫神意识,一种是人的意识。钟鼎彝器中的象符号和文字符号是共同在场、相互阐释的互文关系。第三部分,结语部分。对全文进行总结,甲骨文文字是阐释兆纹的,金文文字和纹饰是神、人的共同在场。在汉字发展过程中,金文时期是一个重要的中转时期,它上接甲骨文的巫神时代,下连竹木简的文本时代,处于这种变革的核心位置。这种发展脉络也把汉字的发展过程提取出来,甲骨文时代属于仪式时代,文字符号是用来阐释图像符号的；金文时代是神、人共治时代,文字符号意义逐渐超越图像符号的意义；当金文发展到竹木简时代时,图像符号消失,只有文字符号留存。这样,汉字最终从神性束缚中解放出来,人的创造性得到发挥,典籍时代来临,汉字进入到真正的文本时代。
[Abstract]:Through the comparison of oracle bone inscription "omega-character" and Zhong Ding's "decoration and character", this paper draws a conclusion that the transformation from oracle bone inscription to golden inscription is not only the change of character carrier and character font, but also the relationship between oracle bone inscription and inscription. In a deep level, it also reflects the meaning of the change of Chinese characters from ritual times to text times. This paper is divided into three parts: The first part is an overview, this part introduces the purpose of this paper, research overview, research significance, theoretical basis and research methods. The second part is the semiotic comparative study of the relationship between oracle bone inscriptions and inscriptions, which is the main body of the thesis and is divided into three parts. First of all, to explore the Yin Shang to the Western Zhou period of ideological changes, Yin Shang pay attention to "witchcraft" divination ceremony, Western Zhou more attention to "etiquette" humanistic thought. Oracle bone divination status declined, the rise of ritual system, promoted the development of Zhong Dingwen. This is an ideological basis for the transformation from oracle bone inscription to Jin Wen. Secondly, oracle bone inscription has strong color of witchcraft ritual field, and god reflects his presence with the presence of heraldic lines. Although oracle bone inscriptions appear, they are not independent and subordinate to the signs. With the development of society and history, the development of oracle bone divination itself has gone through three stages: "there are omen no text, text and sign complement each other". These three stages also coincide with the evolution of the whole Chinese character system. There are three stages: "the era without characters is subordinate to the image symbol-the character is independent from the image into a self-contained system." Thirdly, Zhong Dingwen is different from oracle bone inscription. Decoration is the relict of ancient religion, witchcraft and totem, which is the symbol of Zongding Yi ware, which is associated with witchcraft and deity, while the golden inscription is engraved with historical facts and is related to man. Therefore, there are two kinds of consciousness above Zhongding Yi ware, one is witchcraft consciousness, the other is human consciousness. The image symbol and character symbol in Zhongding Yi ware are intertextuality which is common presence and mutual interpretation. The third part, the conclusion part. To sum up the full text, oracle inscriptions are interpreted as omega, and gold characters and ornaments are the common presence of gods and human beings. In the process of development of Chinese characters, Jin Wen period is an important transit period. It is in the core position of this kind of transformation. This kind of development also abstracts the development process of Chinese characters. The oracle bone age belongs to the ritual era, the character symbol is used to interpret the image symbol, and the Jin Dynasty is the age of God and people ruling together. The meaning of character symbol gradually surpasses the meaning of image symbol. In this way, Chinese characters are finally liberated from the bondage of divinity, people's creativity is brought into full play, the era of ancient books comes, and Chinese characters enter the real text age.
【学位授予单位】：中国海洋大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K877.1

【引证文献】