南阳汉画像石中阳乌与蟾蜍形象的共生关系研究

发布时间：2018-10-04 22:22

【摘要】：汉代人们留恋人世也渴望死后能继续享受人间幸福,社会便盛行起了一股奢靡厚葬之风,同时各种思想与崇拜混杂,“灵魂不灭”信仰、“天人合一”的思想观、汉代阴阳意识、谶纬神学观和对日月神的崇拜等思想作为基点,造就了汉画像的辉煌。从远古的图腾意识,到楚地的生命崇拜,再到汉画像艺术中博大精深的艺术形式,可清晰地看到整个鸟与蛙形象地演变与发展,而鸟与蛙形象衍生的日月共生思想早在陶器时代就已经萌生,并运用于艺术造型上。在汉画像中,阳乌与蟾蜍以生动的形象、成熟的线条展现了天界的日月表象。天象中的太阳和月亮与人类关系最为密切,人们对此充满了臆想与情感,在太阳内刻画三条腿的金乌,月亮内刻画蟾蜍,在造型上不仅避免了日月形象的枯燥表达,更是赋予日月生命的活力。同时日中阳乌与月中蟾蜍蕴含着丰富的精神内容和社会信息,日月在表达真实天象的同时更是人类臆想中助人升仙的工具。日月更替、生死循环,古人在寻求一种和谐秩序,万物阴阳共存,日月共生,万事有始有终,世界便保持和谐状态。本文首先以汉代天人合一、丧葬观念等为思想背景,分析汉画像中阳乌与蟾蜍的共生关系。其次比较不同历史阶段中阳乌与蟾蜍的形象嬗变,追溯中国祖先与动物相互融洽、和谐共处的美妙与自然的状态。再次,将南阳汉画像中阳乌与蟾蜍形象与其他地区相比较,体会四大主要画像石区域的独到之处,突出南阳地区阳乌与蟾蜍共生形象的人文价值。最后,阐述南阳汉画像中阳乌与蟾蜍共生形象的图像意涵,深化对二者共生关系的研究。采用的方法即以汉代社会思想为背景,结合所搜集的文献,运用图像学的方法透过图像的表面现象,研究阳乌与蟾蜍产生的时代特征和二者共生的艺术内涵。探讨阳乌与蟾蜍形象的产生、发展与二者之间的共生关系,以及南阳汉画像中阳乌及蟾蜍形象所要表达的符号意义。本文的创新点在于将汉画像中的阳乌与蟾蜍形象在墓室环境中不同的位置以及周围装饰探讨二者共生关系内涵,并比较与前代鸟与蛙形象的不同象征意义。
[Abstract]:In the Han Dynasty, people yearned for the world to continue to enjoy human happiness after death, and the society became popular with a extravagant style of burial. At the same time, all kinds of thoughts and adoration were mixed up, "the soul never died" belief, and "the unity of nature and man". The consciousness of yin and yang, theology of prophecy and worship of the sun and moon gods were the basis of the Han Dynasty, which created the brilliance of the portrait of Han Dynasty. From the ancient totem consciousness, to the worship of life in Chu, to the broad and profound art form of Han portrait art, we can clearly see the evolution and development of the image of the whole bird and frog. The idea of sun and moon symbiosis derived from the image of bird and frog had already sprouted in the pottery age and was applied to artistic modeling. In the portrait of the Han Dynasty, Yangwu and Toad display the sun and moon of the sky with vivid images and mature lines. The sun and moon in the sky are most closely related to human beings, and people are full of imagination and emotion. The depiction of the three-legged golden black in the sun and the toad in the moon not only avoids the dull expression of the image of the sun and the moon. Is to give the life of the sun and moon vitality. At the same time, there are abundant spiritual contents and social information in the sun, sun and the moon. The sun and moon not only express the real celestial phenomena, but also are the tools of human imagination to help people rise to the fairy. Sun and moon change, life and death cycle, the ancients in the search for a harmonious order, all coexistence of yin and yang, sun and moon symbiosis, everything has the beginning and end, the world will maintain a harmonious state. In this paper, the symbiotic relationship between Yangwu and toad in Han Dynasty is analyzed with the background of the unity of man and nature and the concept of funeral. Secondly, the image transmutation of Zhonghangwu and Toad in different historical stages was compared to trace the beautiful and natural state of harmony and harmony between Chinese ancestors and animals. Thirdly, by comparing the images of Yang Wu and Toad in the portrait of Nanyang Han Dynasty with other regions, we can understand the unique features of the four main stone relief areas, and highlight the humanistic value of the co-existing image of Yangwu and Toad in Nanyang. Finally, the image implication of the symbiotic image of Yangwu and toad in the portrait of Nanyang Han Dynasty is expounded, and the study on the symbiotic relationship between them is deepened. Based on the social thoughts of the Han Dynasty and the literature collected, the methods used in this paper are used to study the characteristics of the times and the artistic connotation of the symbiosis between Yangwu and toad through the surface phenomena of images. This paper discusses the emergence, development and symbiotic relationship between the image of Yang Wu and the toad, and the symbolic significance of the image of Yang Wu and the toad in the portrait of Nanyang Han Dynasty. The innovation of this paper is to discuss the different positions of the images of Yangwu and toad in the tomb environment and the surrounding decoration in the Han Dynasty, and to compare their symbiotic relationship with the images of the previous generation birds and frogs, and to compare them with the different symbolic meanings of the images of the previous generation birds and frogs.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

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