古楼兰鄯善艺术史论
发布时间：2018-08-08 15:19
【摘要】： 本文以楼兰鄯善为中心，对该地区自远古至公元5世纪这一漫长历史时期所出现的主要的艺术作品和艺术现象进行了粗略地考察与综述。笔者以考古发现的材料和历史文献及前人研究的成果为依据，从艺术学和图像学的角度，对这一时期楼兰鄯善艺术作了概念性地时代划分，并对不同类型的艺术作品进行了大体排序和简要考释，所涉及的艺术类型包括石器、陶器、岩画、木雕、织物、铜器、漆器、建筑、绘画、雕塑、书法等。通过对这些艺术品及图像的具体把握和认识，在尽可能地吸收目前国内外民族学、历史学和考古学、艺术学的相关研究成果的基础上，对楼兰鄯善艺术的发展状况、社会背景、风格特征、文化源流及学术价值作了以下初步探讨和论证： (一)根据文献和考古材料以及楼兰鄯善艺术自身发展的状况，结合艺术学和年代学的研究方法，初步对楼兰鄯善艺术作了时代划分，将其分为萌芽时期、融汇时期和昌盛时期三个不同的发展阶段，在这三个不同的艺术时期都存在着不同的主流艺术形式，而在三个时期相互之间其艺术存在着即有风格差异又有内在联系的辩证关系。 (二)从艺术图像研究入手，初步建立了框架式的楼兰鄯善艺术谱系。相对于目前楼兰鄯善艺术研究材料较为分散、驳杂无序的状况，笔者在国内外许多相关著作中收集到数千幅该地区艺术文物图像资料，并从中择选较为经典的图像400余幅进行了逐一考释和分类排序，，从而以实证的方式归纳出楼兰鄯善造型艺术的基本面貌。 (三)通过研究，笔者认为楼兰鄯善艺术是东西方及本土艺术相互交融的产物，蕴藏在楼兰鄯善艺术中的不同文化因素是极其丰富的，它反映了该地区艺术的多元文化本质，这不仅是楼兰鄯善艺术发展的内在基因，同时也应该看作是中华民族艺术史中的一个极为宝贵的文化传统。 (四)依笔者的观点来看，历史上一切发生在楼兰鄯善地区的艺术现象都应被看作是中华民族艺术发展史的一个有机环节，不仅如此，楼兰鄯善艺术曾对东西方艺术的发展产生过极为重要的影响，该地区出现的一些主要的艺术流派和艺术形式，都曾为中国艺术的创新提供了重要的借鉴，在某些方面甚至改变了传统艺术中的一些表现方式。同时中原艺术亦通过楼兰鄯善而对西方世界产生了相应的影响。诸如此类问题，笔者在对楼兰鄯善艺术的具体研究中初步提出了一些尚不成熟的观点和看法。
[Abstract]:Taking Loulan Shanshan as the center, this paper makes a rough survey and summary of the main works of art and the phenomena of art in the long historical period from the ancient times to the 5th century AD in this area. Based on the materials and historical documents of archaeological discoveries and the achievements of previous studies, the author classifies the art of Loulan and Shanshan in this period from the angles of art and graphics. And the different types of art works are generally sorted and briefly studied, including stone tools, pottery, rock painting, wood carving, fabric, bronze, lacquer, architecture, painting, sculpture, calligraphy, and so on. Through the concrete understanding of these works of art and images, and on the basis of absorbing as much as possible the relevant research achievements of ethnology, history, archaeology and art at home and abroad, the development and social background of the art of Loulan Shanshan are discussed. Style features, The origin and academic value of culture are discussed and demonstrated as follows: (1) according to the literature and archaeological materials and the development of Loulan Shanshan art itself, Combined with the research methods of art and chronology, the art of Loulan Shanshan is divided into three stages: the budding period, the fusion period and the prosperous period. In these three different artistic periods, there are different mainstream art forms, and in the three periods, there is a dialectical relationship between the art of each other, which is not only different in style but also related to each other. (2) based on the study of art images, the frame-type Loulan-Shanshan art pedigree is established. Compared with the present situation that the art research materials of Loulan and Shanshan are scattered and disordered, the author has collected thousands of images of the art relics in this area in many related works at home and abroad. More than 400 classical images are selected from them, one by one, and classified and sorted, thus the basic features of plastic arts in Loulan Shanshan are summed up in an empirical way. (3) through the research, the author thinks that the art of Loulan Shanshan is the product of the blending of East and West and native art, and the different cultural factors are extremely rich in the art of Loulan Shanshan, which reflects the multicultural essence of the art in this area. This is not only the inherent gene of the artistic development of Loulan Shanshan, but also a precious cultural tradition in the history of Chinese art. (4) from the point of view of the author, all the artistic phenomena that have occurred in Loulan and Shanshan areas in history should be regarded as an organic link in the history of the development of the Chinese nation's art. The art of Loulan and Shanshan once had an extremely important influence on the development of eastern and western art. Some major art schools and art forms appeared in this area, all of which provided important reference for the innovation of Chinese art. In some ways it has even changed some of the ways of expression in traditional art. At the same time, the art of Central Plains exerts a corresponding influence on the western world through Loulan Shanshan. The author puts forward some immature views in the study of the art of Loulan Shanshan.
【学位授予单位】：西北大学
【学位级别】：博士
【学位授予年份】：2003
【分类号】：J120.9
本文编号：2172189
[Abstract]:Taking Loulan Shanshan as the center, this paper makes a rough survey and summary of the main works of art and the phenomena of art in the long historical period from the ancient times to the 5th century AD in this area. Based on the materials and historical documents of archaeological discoveries and the achievements of previous studies, the author classifies the art of Loulan and Shanshan in this period from the angles of art and graphics. And the different types of art works are generally sorted and briefly studied, including stone tools, pottery, rock painting, wood carving, fabric, bronze, lacquer, architecture, painting, sculpture, calligraphy, and so on. Through the concrete understanding of these works of art and images, and on the basis of absorbing as much as possible the relevant research achievements of ethnology, history, archaeology and art at home and abroad, the development and social background of the art of Loulan Shanshan are discussed. Style features, The origin and academic value of culture are discussed and demonstrated as follows: (1) according to the literature and archaeological materials and the development of Loulan Shanshan art itself, Combined with the research methods of art and chronology, the art of Loulan Shanshan is divided into three stages: the budding period, the fusion period and the prosperous period. In these three different artistic periods, there are different mainstream art forms, and in the three periods, there is a dialectical relationship between the art of each other, which is not only different in style but also related to each other. (2) based on the study of art images, the frame-type Loulan-Shanshan art pedigree is established. Compared with the present situation that the art research materials of Loulan and Shanshan are scattered and disordered, the author has collected thousands of images of the art relics in this area in many related works at home and abroad. More than 400 classical images are selected from them, one by one, and classified and sorted, thus the basic features of plastic arts in Loulan Shanshan are summed up in an empirical way. (3) through the research, the author thinks that the art of Loulan Shanshan is the product of the blending of East and West and native art, and the different cultural factors are extremely rich in the art of Loulan Shanshan, which reflects the multicultural essence of the art in this area. This is not only the inherent gene of the artistic development of Loulan Shanshan, but also a precious cultural tradition in the history of Chinese art. (4) from the point of view of the author, all the artistic phenomena that have occurred in Loulan and Shanshan areas in history should be regarded as an organic link in the history of the development of the Chinese nation's art. The art of Loulan and Shanshan once had an extremely important influence on the development of eastern and western art. Some major art schools and art forms appeared in this area, all of which provided important reference for the innovation of Chinese art. In some ways it has even changed some of the ways of expression in traditional art. At the same time, the art of Central Plains exerts a corresponding influence on the western world through Loulan Shanshan. The author puts forward some immature views in the study of the art of Loulan Shanshan.
【学位授予单位】：西北大学
【学位级别】：博士
【学位授予年份】：2003
【分类号】：J120.9
【引证文献】
相关期刊论文 前1条
1 吴宏岐;;新疆古代民族居住生活方式及其环境影响因素——以公元5-14世纪的吐鲁番地区为中心[J];暨南史学;2005年00期
相关硕士学位论文 前1条
1 马万宏;20世纪西北地区古代中外工艺美术交流研究的回顾[D];西北师范大学;2010年
本文编号：2172189
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