商周青铜器饕餮纹与龙纹比较研究

发布时间：2018-10-16 13:15

【摘要】：饕餮纹和龙纹是商周时期青铜器装饰艺术的两大主要题材。殷商是青铜器纹饰发展的黄金时期。西周初期的青铜器纹饰沿袭商代风格,发展到西周晚期饕餮纹逐渐衰落,取而代之的是在青铜器上龙形纹饰占据了主要位置,但此时的龙纹体形较小,与后世真正意义的龙有许多不同之处。本文主要对商周这一时段的青铜器饕餮纹和龙纹进行对比研究,通过解读青铜器上的这两类纹饰的表现手法及其内涵,从而增进对商周时期青铜器纹饰内涵的认识以及青铜器艺术对后世文化的影响。全文主要分为四章,以及前言和结语。前言部分包括学术界关于商周时期青铜器上的饕餮纹和龙纹的研究现状、本文的选题意义,研究方法和创新点。结语部分对本文研究成果做了简短的总结和存在的不足之处。第一章主要是对殷商时期青铜器墓葬、器形以及青铜器上的饕餮纹和龙纹的发展状况进行概述,将商代主要分为三个的时期,即早商、中商和晚商,其中早商又可分为二里冈下层时期和二里冈上层时期,晚商即殷墟时期,又可分为前期、中期、后期三个不同阶段。周代则分为西周和东周两个的时期,西周分为早、中、晚三个不同阶段,东周分为春秋、战国两个不同时期,而春秋、战国这两个时期每个又可分为早、中、晚三个小的阶段。这样的时期划分是符合青铜器纹饰的发展规律,也较有利于各种文献资料的引用。第二章是对商周时期青铜器上的饕餮纹和龙纹进行了大致的分类。在分类之前,本章增加了对殷商时期青铜器纹饰铸造技术的叙述及对青铜器上的图像铭文进行了阐释,还分别对饕餮纹和龙纹的各个官能进行阐述,以便于增加对饕餮纹和龙纹的认识。饕餮纹主要是通过不同表现形式及所流行的不同时期进行分类,而龙纹则先从视觉角度作了两大分类,分别为侧面龙纹和正面龙纹,再进一步列举了两类龙纹的多种表现形式。第三章是对饕餮纹和龙纹这两类商周时期青铜器上最主要的纹饰进行比较。主要包括其在青铜器上的方向性、官能特征及视觉角度等方面,从而探寻这两类纹饰的相同之处和不同之处。第四章是对商周时期饕餮纹和龙纹的内涵进行了分析。首先阐释了商周时期人们对动物的认识情况和对不同动物的不同表现手法,并追根溯源,从商周时期之前的时期找到这两类纹饰的先型。其次,提出饕餮纹是为商周祭祀活动所服务的,其特有的祭祀性和表现手法等对其它动物纹饰的影响。最后,说明了西周晚期祭祀活动逐渐减少及其原因,其表现在青铜器上的饕餮纹也逐渐被小型龙纹(蟠螭纹)所取代,但饕餮纹的那种气韵和威严却深深影响了龙形纹饰,使龙纹担负起王朝礼制的功能,从而使龙纹成为后世皇家权威的象征,也成为民间最广为流行的一种吉祥纹饰。
[Abstract]:Taotie grain and dragon grain are the two main themes of bronze decorative art in Shang and Zhou dynasties. The Shang Dynasty was the golden age of the development of bronze ornaments. The bronze ornaments of the early Western Zhou Dynasty followed the style of Shang Dynasty, and gradually declined until the late Western Zhou Dynasty. Instead, the dragon ornaments occupied the main position on the bronze ware, but at this time the dragon patterns were relatively small. There are many differences from the true meaning of dragons in later generations. This article mainly carries on the contrast research to the bronze ware gluttony grain and the dragon grain in this period of Shang and Zhou dynasties, through unscrambling the expression technique and the connotation of these two kinds of patterns on the bronze ware, So as to enhance the understanding of the connotation of bronze ornaments in Shang and Zhou dynasties and the influence of bronze art on the later culture. The full text is divided into four chapters, as well as preface and conclusion. The preface includes the current research situation of Taotie grain and dragon grain on bronze ware in Shang and Zhou dynasties, the significance of this paper, the research methods and innovation points. The conclusion part makes a brief summary of the research results and the shortcomings. The first chapter mainly summarizes the development of bronze gravestones in Shang Dynasty, the shape of bronze vessels and the gluttony and dragon patterns on bronze vessels. The Shang Dynasty is divided into three periods, namely, early Shang Dynasty, Middle Shang Dynasty and late Shang Dynasty, which are the three main periods of Shang Dynasty, namely the early Shang Dynasty, the Middle Shang Dynasty and the late Shang Dynasty. The early Shang can be divided into the lower stage of Erligang and the upper stage of Erligang. The late Shang is the period of Yin ruins, and it can also be divided into three different stages: the early stage, the middle stage and the late stage. The Zhou Dynasty is divided into two periods: the Western Zhou Dynasty and the Eastern Zhou Dynasty. The Western Zhou Dynasty is divided into three different stages: early, middle and late, and the Eastern Zhou is divided into two different periods: the Spring and Autumn period, the warring States period, and the Spring and Autumn period and the warring States period, each of which can be divided into three small stages: early, middle and late. This period division is in line with the development of bronze ornaments, but also more conducive to the use of various literature. The second chapter is the Shang-Zhou period bronzes on the gluttony grain and the dragon grain has carried on the rough classification. Before classifying, this chapter has added the narration to the bronze ware pattern casting technology of the Yin and Shang dynasties, and has carried on the explanation to the bronze ware image inscription, also has carried on the elaboration respectively to the gluttonous grain and the dragon grain each function. In order to increase the understanding of gluttonous and dragon lines. Taotie lines are classified by different forms of expression and popular periods, and dragon lines are classified from the visual point of view, which are respectively lateral and frontal dragon lines, and further enumerate the various forms of expression of the two types of dragon stripes. The third chapter compares the two types of bronzes in Shang and Zhou dynasties. It mainly includes its directionality, functional features and visual angle on bronze ware, so as to explore the similarities and differences between the two kinds of ornaments. Chapter four analyzes the connotation of Taotie grain and dragon grain in Shang and Zhou dynasties. First of all, it explains the understanding of animals and different ways of expression of different animals in Shang and Zhou dynasties, and trace back to the source, from the period before the Shang and Zhou dynasties to find the pre-type of these two kinds of ornaments. Secondly, the author points out that the Taotie grain serves for the sacrificial activities of Shang and Zhou dynasties, and its special sacrificial and expressive methods have an effect on other animal ornaments. Finally, it explains the gradual decrease of sacrificial activities in the late Western Zhou Dynasty and its causes, which are reflected in the gradual replacement of the Taotie patterns on bronze vessels by small dragon patterns (flat chi patterns), but the charm and majesty of the Taotie patterns have deeply influenced the dragon ornaments. The dragon pattern is the symbol of royal authority and the most popular folk auspicious decoration.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J526;K876.41

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