战国秦汉妆奁研究

发布时间：2018-07-28 18:28

【摘要】：妆奁是古人盛放梳妆用品的器具,首先出现于南方的楚国,经秦的发展,至汉代,漆奁的装饰非常豪华。本文拟对战国漆奁、秦漆奁、汉漆奁,以及纹样、装饰技法、形制演变做出综合研究,并探讨其中的相关问题。除绪论外,本文分为八章。绪论部分,首先简要交代战国秦汉时期漆器发展简史、早期文献记载及漆器的主要种类。其次,界定本文所指“漆质妆奁”的概念,奁的文献记载及考古发现,并介绍本文的选题目的及研究方法。指出战国秦汉妆奁产生、发展、繁荣的过程。经战国秦汉时期的发展,妆奁无论在形制上还是装饰工艺上,都发生了巨大的变化,因此,妆奁的综合研究不仅非常有必要,而且具有相当的学术意义。第一章,对战国秦汉漆奁的胎骨及内部物品进行分析。漆器成型主要是靠制胎,漆器胎骨或称为器骨,是漆饰的依托。漆奁作为小型日常器具,其胎骨应以轻便为宜,主要有木胎、布脱胎,以及少量的复合胎骨。本文着重探讨了布脱胎的命名及其出现时代,指出布脱胎轻巧结实,造型稳定,适宜制造形状复杂且不规则的器物。墓葬所出的漆奁,内部存放的物品主要分面部化妆品、梳妆工具、发饰及其他一些物品。梳妆用具的形状直接影响到了汉代多子奁内部子奁的形状。笔者把秦汉时期的面部美容用品细化为基本护肤、粉妆、点唇、胭脂、眉饰等几个方面。梳妆工具分为铜镜、梳、篦、铜刷、镊子、刮刀、眉笔、黛板等。最后介绍了常见的发饰如笄、簪等固定发髻的束发用具,以及假发、花椒等。第二章,对漆奁的纹样类型及构图形式进行分析。纹样是装饰艺术中一个重要内容,是按照一定图案结构,经过写实、抽象等方法而逐渐定型化的图形。战国秦汉时期漆奁上的装饰纹样,类别和数量非常多,纹样更加繁复多变。战国时期漆奁的装饰技法以彩绘为主,有写实和变形夸张两种表现手法。汉代的漆奁还借助于锥画、贴饰金箔片纹样来进行装饰。纹样分为动物纹样、植物纹样、自然景象纹样、几何纹样、社会生活和神话传说纹样。纹样总是按照一定的方式组合起来的,这种组合方式称为纹样的构成形式。适合纹样、独立纹样和连续纹样这三种构成形式是漆奁最基本的纹样构成形式。漆奁的适合纹样是依据漆奁的造型,描绘出与器形相适合的纹样。独立纹样是指在漆器的器物中心位置或某一面上,描绘独立的个体单位或几个单位的装饰纹样。当独立纹样由几个单元组成时,其基本组合形式有对称、旋转、平衡、辐射等几种。漆奁的中心纹样周围,往往饰以连续的带状纹样,增加了器皿的层次感及美感。这种纹样以二方连续居多,绝大多数是横式的左右联系。漆奁盖与壁上的连续纹样之所以醒目,离不开色线和色带。它们能够使零散多变的纹饰归于统一。第三章,对漆奁的装饰工艺进行分析。战国、秦汉时期的漆奁,其器表的装饰几乎都在黑(褐)这类深色地漆上进行的。漆奁上丰富多样的装饰纹样是通过彩绘、锥画、金属嵌、贴饰金银箔片等装饰工艺表现出来的。从器物艺术装饰的角度看,不同时代的漆奁,其装饰方式的侧重点,具有比较鲜明的时代气息和浓厚的民族特色,体现了工艺技术的变化。彩绘是漆器最基本的装饰手法。楚国出土的漆奁往往是用多种颜色的漆液或油彩在漆奁上绘制纹样。彩绘主要分为线描、平涂、堆漆和渲染四种方法。最常用的方法是线描与平涂。锥画是用尖锐的针或锥作绘画笔刻划而成的纹饰。锥画漆器经过了战国时期的草创期,主要流行于西汉中期以前。西汉中期以后,漆奁上的锥画逐渐让位于新兴的嵌金属扣、贴金银箔片、镶嵌宝石等工艺,装饰性更强。第四章,对战国时期的漆奁产生的背景、漆奁资料的来源、漆奁的种类和形制以及楚式漆奁的特征进行分析。漆奁作为日用小型用具是战国中后期以后,在楚国首先出现的。秦攻占楚郢都之前,江汉平原出土的楚国漆奁是典型的楚式漆奁。秦取楚国郢都之后,楚式漆奁的资料来源于湖南地区的楚墓、安徽及周边地区的楚墓、巴蜀的楚移民墓葬。由于漆奁出现较晚,楚墓中出土的漆奁数量并不多。从漆奁出现到楚国灭亡,历时百余年,这期间漆奁型制变化不是很大,变化主要体现在形体的大小、纹样、胎骨等方面,但是,楚国漆器中崇尚红色、崇尚凤鸟、巫风盛行这三大特点,却对汉代漆奁的制作、装饰产生了深远的影响。第五章,对秦漆器的考古发现、秦墓出土漆奁的形制与特征、相关问题以及秦漆器的新特征进行分析。秦国本土的漆器制作水平相对楚地来说显得相当落后。秦取郢都后,漆奁在江汉地区秦墓中已成为日用漆器的重要品种。秦墓出土的漆奁形状有圆形、椭圆形两种,椭圆奁是新出现的器形。漆奁的胎骨全部为木胎,不见布脱胎。秦漆奁有一半以上素髹无纹饰,漆奁上多见的烙印铭文成为秦漆奁的一个重要特征,反映了秦手工业生产“物勒工名”的制度。秦圆奁秉承楚国漆奁扁圆形的造型。秦漆奁纹样除写实性的凤鸟外,更多的是各种变形鸟纹,尤其是各种鸟首纹、云鸟纹、“B”字形纹样。秦占据楚地之后,不但占有了丰富的漆树资源,同时也获得了大量的漆工艺者。秦将许多漆工艺者迁到咸阳,咸阳成为了新的漆器制作中心。秦统治期间,楚文化的一些器形消失了,而实用漆器有所增加。秦生产管理方面的一些经验如“物勒工名”制度、设立市亭管理工商业等都被汉代继承下来并有所发展。汉代的蜀汉漆器的高度发展离不开秦在巴蜀的经营管理,正是秦在巴蜀的早期开发,才使蜀汉工官漆器成为汉代漆器的代表。第六章,对汉代漆奁的形制演变以及相关问题进行探讨。全国大部分省份都有汉代漆奁出土。汉代漆奁的器形与装饰工艺较战国、秦发生了巨大的变化。汉代漆奁有圆形、方形(包括长方形、正方形)、椭圆形三类。方奁与椭圆奁常常用来盛放非梳妆用具,圆奁以盛放梳妆用具为主。就妆奁来讲,汉代除了扁矮的单层奁外,出现了双层妆奁,并且流行多子奁。采用圆形、多子奁的形制,且镶嵌金属扣、贴饰金银箔片、盖顶镶嵌柿蒂纹银片,并通过饰云气纹、动物纹共同构建一个神仙世界的漆奁最具汉代特色。两汉时期,蜀郡与广汉郡漆器在全国同时期漆器业中占有相当重要的地位。笔者认为,四川的漆手工业是受楚文化的影响,并在此基础上发展起来的。秦政府移民入蜀、修建成都城,这些措施促使了四川地区的开发。巴蜀在汉己成为重要工业地区,汉代的金银铜器的主要材料也主产于巴蜀,这些都导致汉以后全国漆器制造重心转移到四川地区,并促使了漆器与金属制造业的结合,从而产生了名贵的“蜀汉扣器”。广陵地区在两汉四百余年间创造了发达而瑰丽的漆文化。在战国晚期到西汉初期,这里的漆器风格主要延续了楚国漆器的特色。西汉中后期以后,广陵的漆器制作已经十分发达,漆器的品种以常见的日用器为主。西汉中后期的豪华漆奁主要出土于广陵地区,代表了西汉中后期以后漆奁制作的最高水平。第七章,对漆奁体现出来的汉代的厚葬之风及神仙思想进行初步分析。西汉中期以后镶嵌银扣、贴饰金银箔片的漆奁在当时的社会是极其昂贵的奢侈品。此类漆奁的使用,反映了汉代在强盛国力的支撑下滋生的奢侈与厚葬之风。一个时代的文化氛围是那个时代器物发展的土壤,而一个时代的器物,又能够反映出那个时代的文化面貌。汉代人的神仙世界主要是由云气、神山、仙人、祥瑞等主要元素构成的。汉代社会的求仙思想在汉代漆奁上有非常明显的时代烙印,多子奁寄寓了汉代人祈求多子多孙的愿望。第八章,作为余论,简述了两汉以后妆奁的发展。三国、两晋到隋唐时期,从考古资料来看,漆奁的数量不多,漆奁延续了汉代漆奁的传统造型,漆艺在日臻成熟中又有所演进。汉代流行的多子奁到五代及宋元时期,演变成逐层套起的套奁。明清妆奁的设计向两个方向发展：一类妆奁继承了战国以来漆奁小巧便携的特点；另一类已演变成不易搬动的家具。
[Abstract]:It first appeared in the south of Chu state. After the development of the Qin Dynasty, after the development of the Qin Dynasty, the decoration of the paint was very luxurious. This article is intended to make a comprehensive study of the Warring States paint, Qin lacquer, Han paint, patterns, decorative techniques and the evolution of shape, and discuss the related problems.
In addition to the introduction, this article is divided into eight chapters.
In the introduction part, the brief history of the development of the lacquer ware in the Warring States and the Qin and Han Dynasties, the early documents and the main types of lacquerware are briefly introduced. Secondly, the concept of "enamel makeup" is defined, the literature records and archaeological discoveries are defined, and the purpose and the research methods of this article are introduced, and the process of the development and prosperity of the Qin and Han Dynasties in the Warring States and Qin and Han Dynasties is pointed out. After the development of the Warring States and Qin Dynasty and the Qin and Han Dynasties, great changes have taken place in both the form and the decorative process. Therefore, the comprehensive study of the makeup is not only necessary but also of considerable academic significance.
The first chapter is the analysis of the fetal bone and the internal articles of the Warring States and Qin and Han Dynasties. The lacquer ware is mainly based on the making of the fetus, the lacquer bone or the bone, which is the backing of the lacquer. In its emergence, it is pointed out that cloth removal is light, strong and stable in shape, and is suitable for making complex and irregular shapes.
The interior items are mainly divided into facial cosmetics, dressing tools, hair ornaments and other items. The shape of the toiletries has a direct impact on the shape of the interior of the Han Dynasty. The facial beauty products of the Qin and Han Dynasties are refined into basic skin care, make-up, lip, rouge, eyebrow and so on. The tools are divided into bronze mirrors, comb, comb, copper brush, tweezers, scrapers, eyebrow brushes, and Daiban. Finally, the common hair ornaments such as hairpins, hairpins, hairpins, wigs, pepper and so on are introduced.
In the second chapter, the pattern and composition form of the paint are analyzed. The pattern is an important part of the decorative art. It is a pattern which is gradually finalized according to a certain pattern structure, through realistic and abstract methods. The decorative patterns on the Warring States and Qin and Han Dynasties are very large in category and number, and the patterns are more complex. The decorative techniques of the Han Dynasty are mainly painted, with two kinds of expressive and exaggerated expressive techniques. The Han Dynasty has also used the pyramid painting and the ornament of gold foil to decorate. The pattern is divided into animal pattern, plant pattern, natural scene pattern, geometric pattern, social life and myth telling pattern. The pattern is always combined in a certain way. This combination is called the form of the pattern. The three form of the pattern, the independent pattern and the continuous pattern is the most basic form of the pattern. The suitable pattern is based on the shape of the paint. The independent pattern refers to the center position of the utensils or a certain side of the lacquer. Depicting the decorative patterns of independent individual units or units. When independent patterns are made up of several units, their basic combinations are symmetrical, rotated, balanced, and radiant. Around the central pattern of the enamel, it is often decorated with continuous banded patterns that increase the sense of the layer and the beauty of the utensils. The pattern is in a continuous and vast number of two parties. Most of them are the right and left connections of the transverse type. The continuous patterns of the painted cover and the wall are striking, and the color lines and ribbons can not be separated. They can make the scattered and varied ornamentation unify.
The third chapter is an analysis of the decorative craft of the paint. In the Warring States period and the Qin and Han Dynasties, the ornament of its instrument is almost all in dark (brown) dark paint. The rich and varied decorative patterns on the paint are displayed by painted, cone, metal, and silver foil. From the angle of the art decoration of the utensils, The focus of decorative patterns in different times has a distinct flavor of the times and a strong national feature. It embodies the change of technology. The painted painting is the most basic decoration technique of the lacquer ware. There are four methods of painting and rendering. The most commonly used methods are line drawing and flat painting. Cones are carved with sharp needles or cones. After the Warring States period, the cones are popular in the middle of the Western Han Dynasty. After the middle of the Western Han Dynasty, the cones on the paint are gradually placed in the new metal chaff and affixed to gold and silver chaff. Inlaid stones and other processes, more decorative.
The fourth chapter is the background of the paints in the Warring States period, the source of the materials, the types and forms of the paints, and the characteristics of the Chu style paint. After Qin took Chu Ying capital in Chu state, the data of Chu style paint came from Chu tombs in Hunan, Chu tombs in Anhui and its surrounding areas, and the tomb of Chu immigrants in Bashu. It is reflected in the size of the body, the pattern, the fetal bone and so on. However, the three characteristics of the Chu lacquer ware are the worship of red, the Phoenix and the prevailing witchcraft, which have a profound influence on the production and decoration of the Han Dynasty.
The fifth chapter, the archaeological discovery of Qin lacquer ware, the form and characteristics of the unearthed paints in Qin Dynasty, the related problems and the analysis of the new features of the Qin lacquer ware. The local lacquer production level of the Qin state is relatively backward compared to the Chu area. The shape has round and oval shape, and the ellipse is a new form. The fetal bone of the enamel is all wood, without cloth. More than half of the Qin paints are painted without ornamentation, and the imprint inscription on the paint is an important feature of Qin Qilian. It reflects the system of "the name of the lacquer" in Qin's handicraft industry. Qin yuan adheres to the system of Qin Qilian. In addition to the realistic Phoenix, more is a variety of deformed bird lines, especially all kinds of bird's first lines, cloud bird lines and "B" pattern. After Qin occupied the Chu area, not only has the rich lacquer tree resources but also a large number of lacquer craftsmen. Qin changed a lot of lacquer craft to Xianyang, Xianyang became During the period of the Qin Tong Dynasty, some organs of Chu culture disappeared and the practical lacquer ware increased. Some experience in the management of Qin's production, such as the "lacquer name" system, the establishment of the City Pavilion management and commerce, were all inherited and developed by the Han Dynasty. The high development of the Han Dynasty lacquer of Shu Han was inseparable from Qin's in Bashu It was the early development of Qin in Ba Shu that made the lacquer ware of Han Dynasty become the representative of Han Dynasty lacquerware.
The sixth chapter discusses the evolution of the shape and the related problems of the Han Dynasty. Most of the provinces in the country have been unearthed in the Han Dynasty. In the Han Dynasty, the art form and decoration technology of the Han Dynasty has changed greatly. The Han Dynasty has a great change in the Qin Dynasty. In the Han Dynasty, the Han Dynasty had a double makeup and a popular multi child, with a round, multi child shape, with metal buckles, a gold and silver foil, the top inlaid with a persimmon silver film, and an animal pattern together to build a fairy in the Han Dynasty. In the Han Dynasty, Shu county and Guanghan County lacquer ware played an important role in the national lacquerware industry in the Han Dynasty. The author believed that the lacquer industry in Sichuan was influenced by Chu culture and developed on this basis. The Qin government moved to Shu and built the city of Chengdu. These measures prompted the opening of the Sichuan region. In the Han Dynasty, Bashu became an important industrial area, and the main materials of the gold and silver bronze ware in the Han Dynasty were mainly produced in Bashu, which all led to the transfer of the center of center of lacquer manufacture to Sichuan area after the Han Dynasty, and the combination of lacquer and metal manufacturing, thus producing the famous "Shu Han buckle". The Guangling area was created in the last four hundred years of the Han Dynasty. Developed and magnificent lacquer culture. From the late Warring States to the early Western Han Dynasty, the style of lacquer lacquer in the Western Han Dynasty mainly continued the characteristics of the Chu lacquer. After the late Western Hanzhoung, the lacquer ware in Guangling was very developed and the varieties of lacquerware were mainly used in the daily use. The late Western Hanzhoung was mainly unearthed in Guangling area, representing the West. The highest level of paint produced in the later period of Hanzhoung.
In the seventh chapter, a preliminary analysis of the deep burial wind and the immortal thoughts of the Han Dynasty was carried out in the Han Dynasty. After the middle of the Han Dynasty, the silver buckles were inlaid and painted with gold and silver foil were extremely expensive in the society at that time. The cultural atmosphere of the generation is the soil of the development of the utensils in that time, and the artifacts of an era can reflect the cultural features of the times. The world of the Han Dynasty is mainly composed of the main elements of the clouds, Koyama, the fairy, and the auspiciousness. The desire to pray for many sons and daughters in the Han Dynasty was placed in the Han Dynasty.
The eighth chapter, as a theory, describes the development of makeup after the Han Dynasty. In the Three Kingdoms, the Jin Dynasty, the Jin Dynasty to the Sui and Tang Dynasties, from the archaeological data, the number of paints was not much. The lacquer painting continued the traditional sculpt of the Han Dynasty, and the lacquer art evolved in the maturing of the Han Dynasty. The design of clear makeup is developing in two directions: one kind of makeup is inherited from the Warring States period, and the other is the furniture which is not easy to move.
【学位授予单位】：南京大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：K875

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