清中期痕都斯坦玉器研究

发布时间：2018-06-20 10:04

本文选题：痕都斯坦 + 玉器　；参考：《上海大学》2010年博士论文

【摘要】： 痕都斯坦玉器是中原玉器发展史上对中亚和西亚地区玉器型式的指称,也是对中原玉器艺术形式演变产生最重要影响的一种外来类型。本文选取了清中期这个具有强盛国力与深刻文化内涵的时期作为时期限定,对痕都斯坦玉器进行跨文化的意义分析和形态比较,从多个角度和层面来解读痕都斯坦玉器的起源、演化、风格及其与当时的政治、历史、文化、哲学的关系,从根源上对痕都斯坦玉器的形式、意义、东传与再创造做系统的分析和研究。本文构架分为四个部分来进行展开:历史渊源阐述、地区风格界定、清代痕玉表现、后期的价值与影响。在各部分的论证中以强调考据与义理结合、宏观与微观结合、平行比较与影响比较结合,希望达致以下预期结果: (一)探究痕都斯坦玉器型成的地域考证、前承渊源与形制特征; (二)对其艺术巅峰的时代地域特征、文化影响、社会制度等进行归纳整理; (三)探究清代中原玉器自身发展与痕玉传入所带来的审美理念交流与冲突、两者互为借鉴的过程,以及异域文化对于中原玉器型态演变的揭示; (四)以痕都斯坦玉器所显现的造物精神与中原玉器“载道”、“藏礼”文化精神相印证,通过与清史资料相结合,验证清高宗对其欣赏中所蕴涵的治国理想与文化价值。清中期痕都斯坦玉器在反映当时政治、文化生活的广度和深度上,具有文字所缺乏的直观性与形象性,能够补充文献难以记述的细部与微观,对正确全面评价清代工艺美术史大有裨益,是文字之外的一种更为生动和具体的记录历史的方式。并且,其形式的特殊性为后人在了解不同地区文化互为交流、演化乃至回归的循环上,提供了完整的实物参照,其存在的作用与意义深刻而久远。
[Abstract]:Jiedustan Jade is a reference to the pattern of Jade in Central China and West Asia in the history of the development of Jade in Central Plains. It is also a kind of foreign type which has the most important influence on the evolution of Jade Art form in Central Plains. This paper selects the period of the middle Qing Dynasty, which has the strong national strength and profound cultural connotation, as the time limit, carries on the cross-cultural significance analysis and the form comparison to the Jiedustan Jade, and interprets the origin of the Jade Jade of Jindu Stan from many angles and levels. Evolution, style and its relationship with politics, history, culture and philosophy at that time are systematically analyzed and studied from the root of the form, significance, eastward transmission and re-creation of Jade wares. This paper is divided into four parts: historical origin explanation, regional style definition, Qing Dynasty mark jade performance, late value and influence. In order to emphasize the combination of textual research and righteousness, macro and micro, parallel comparison and influence comparison in each part of the argumentation, the author hopes to achieve the following expected results: (1) the regional textual research of Jade ware made of indussian jade, (2) the regional characteristics and cultural influence on the peak of its art. (3) to explore the exchange and conflict of aesthetic ideas brought about by the development of jade wares in the Central Plains of the Qing Dynasty and the introduction of trace jade. And the foreign cultures reveal the evolution of jade objects in the Central Plains. (4) the spirit of creation and the spirit of the culture of "Zang Li" and "Zang Li" of Jade wares in the Central Plains are confirmed by the spirit of creation shown by the Jade objects of Jade Jade Jade in Jade Jade of the Central Plains. By combining with the historical materials of the Qing Dynasty, it verifies the ideal of governing the country and the cultural value implied in the appreciation of it by the Qing Gaozong. In reflecting the breadth and depth of the political and cultural life of that time, the jade wares in the middle period of the Qing Dynasty were characterized by the intuitive and visual character lacking in the writing, which could supplement the details and microscopes that were difficult to describe in the literature. It is a more vivid and concrete way to record the history of arts and crafts in Qing Dynasty. Moreover, the particularity of its form provides a complete physical reference for future generations to understand the cycle of cultural exchange, evolution and even return in different regions, and its role and significance are profound and long ago.
【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2010
【分类号】：K876.8

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