汉四神铜镜探微
发布时间：2019-02-12 08:35
【摘要】：“四神”又称“四灵”、“四象”、“四维”、“四宫”、“四兽”等，从商代出现为始，可以说在中国文化发展的每一阶段，它都有不同的形态。《史记》、《汉书》、《礼记》、《淮南子》等古代文献都有所记载。较早的文献《礼记·礼运》称“龙、凤、龟、麟”为“四灵”，西汉末年的《礼纬·稽命征》和王莽《大诰》则将“麟、凤、龙、龟、白虎”合称为“五灵”，现在通常所指的“四神”是遵从了《三辅黄图》的说法，是对青龙、白虎、朱雀和玄武的统称。 四神作为一个有系统的具体形象，，从春秋战国到两宋，在遗存的石刻、壁画、铜镜、瓦当等大量的考古材料上均有体现，是一类主要的纹样之一。前辈学者对四神的研究大多集中在四神图像的个案研究，或以文献记载对四神的起源进行探索上；对四神考古材料的研究虽有，但大多是将之作为论据就某一问题进行论述；而对四神铜镜的专题性研究，如对四神铜镜的类型学划分、演变序列及各型式的地区传布的相关研究则显得比较薄弱。 本文拟结合以往的考古发现和研究成果，通过搜集目前已经发表的馆藏和出土铜镜专著，考古学报刊资料中所涉及到的汉代四神铜镜资料，在前人研究的基础上，运用考古类型学与文献资料相结合的方法，对汉代的四神铜镜进行全面、系统的梳理和综合研究。通过对汉代四神铜镜的类型学分析，对各型式的流行时间和地区传布进行初步的探讨。 此外，对于“变异四神铜镜”和“简式四神铜镜”学术界还少有论及，我在文中也提出了个人的一点学术浅见。
[Abstract]:"four gods", also known as "four spirits", "four elephants", "four dimensions", "four palaces", "four beasts" and so on, began with the appearance of the Shang Dynasty. It can be said that at every stage of the development of Chinese culture, it has different forms. Li Ji, Huainan Zi, and other ancient documents have been recorded. The earlier document "Li Ji Li Yun" was called "Dragon, Phoenix, turtle, and Lin" as "four spirits." in the last years of the Western Han Dynasty, the "sign of propriety and wisdom" and Wang Mang's "Dragon, Phoenix, Dragon, Turtle, and White Tiger" were combined as "five spirits." The "four gods", now commonly referred to as "three auxiliary yellow pictures", are the general terms for Azure Dragon, Bai Hu, Vermilion Bird and Black Tortoise. As a systematic and concrete image, the four gods, from the Spring, Autumn and warring States to the Song Dynasty, are embodied in the remains of stone carvings, murals, bronze mirrors, Wadang and other archaeological materials, which are one of the main patterns. The previous scholars' researches on the four gods are mostly focused on the case studies of the images of the four gods, or on the exploration of the origin of the four gods by documentary records, although the archaeological materials of the four gods have been studied, most of them are discussed as arguments on a certain issue. However, the research on the special theme of the four-god bronze mirror, such as the typology of the four-god bronze mirror, the evolution sequence and the regional distribution of each type, appears to be relatively weak. Based on the previous archaeological discoveries and research results, this paper intends to collect the published books on bronze mirrors in the library and unearthed bronze mirrors, and the materials of the four gods of the Han Dynasty, which are included in the archaeological newspapers and periodicals, on the basis of previous studies. By means of the combination of archaeological typology and literature, this paper makes a comprehensive, systematic and comprehensive study of the four gods bronze mirror in the Han Dynasty. Based on the typological analysis of the four-god bronze mirrors in the Han Dynasty, the epidemic time and regional distribution of each type were preliminarily discussed. In addition, the academic circles of "variant four God Bronze Mirror" and "simple four God Copper Mirror" are seldom discussed, and I also put forward a personal academic opinion in this paper.
【学位授予单位】：暨南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：K875.2
本文编号：2420259
[Abstract]:"four gods", also known as "four spirits", "four elephants", "four dimensions", "four palaces", "four beasts" and so on, began with the appearance of the Shang Dynasty. It can be said that at every stage of the development of Chinese culture, it has different forms. Li Ji, Huainan Zi, and other ancient documents have been recorded. The earlier document "Li Ji Li Yun" was called "Dragon, Phoenix, turtle, and Lin" as "four spirits." in the last years of the Western Han Dynasty, the "sign of propriety and wisdom" and Wang Mang's "Dragon, Phoenix, Dragon, Turtle, and White Tiger" were combined as "five spirits." The "four gods", now commonly referred to as "three auxiliary yellow pictures", are the general terms for Azure Dragon, Bai Hu, Vermilion Bird and Black Tortoise. As a systematic and concrete image, the four gods, from the Spring, Autumn and warring States to the Song Dynasty, are embodied in the remains of stone carvings, murals, bronze mirrors, Wadang and other archaeological materials, which are one of the main patterns. The previous scholars' researches on the four gods are mostly focused on the case studies of the images of the four gods, or on the exploration of the origin of the four gods by documentary records, although the archaeological materials of the four gods have been studied, most of them are discussed as arguments on a certain issue. However, the research on the special theme of the four-god bronze mirror, such as the typology of the four-god bronze mirror, the evolution sequence and the regional distribution of each type, appears to be relatively weak. Based on the previous archaeological discoveries and research results, this paper intends to collect the published books on bronze mirrors in the library and unearthed bronze mirrors, and the materials of the four gods of the Han Dynasty, which are included in the archaeological newspapers and periodicals, on the basis of previous studies. By means of the combination of archaeological typology and literature, this paper makes a comprehensive, systematic and comprehensive study of the four gods bronze mirror in the Han Dynasty. Based on the typological analysis of the four-god bronze mirrors in the Han Dynasty, the epidemic time and regional distribution of each type were preliminarily discussed. In addition, the academic circles of "variant four God Bronze Mirror" and "simple four God Copper Mirror" are seldom discussed, and I also put forward a personal academic opinion in this paper.
【学位授予单位】：暨南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：K875.2
【引证文献】
相关硕士学位论文 前1条
1 王双双;汉墓出土禽兽纹带镜初步研究[D];郑州大学;2013年
本文编号：2420259
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