本文關(guān)鍵詞： 鄂爾多斯青銅飾牌 馬紋 鹿紋 審美 文化內(nèi)涵　出處：《中央民族大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 本研究是一項(xiàng)以美學(xué)為主要研究視角,采用器物形制研究、文獻(xiàn)研究及歷史研究相結(jié)合的研究方法,通過對(duì)鄂爾多斯青銅飾牌中馬紋和鹿紋的紋飾造型研究,揭示出在鄂爾多斯青銅飾牌這種藝術(shù)背后的民族審美模式和文化內(nèi)涵。 本研究是一項(xiàng)家鄉(xiāng)民族的審美研究。在研究過程中,作者曾多次前往鄂爾多斯地區(qū)調(diào)查,取得了大量的有關(guān)鄂爾多斯青銅器的人文背景資料,并且在最近一次田野調(diào)查中,集中對(duì)鄂爾多斯青銅博物館及內(nèi)蒙古博物院參觀研究,并且拍攝了大量的青銅飾牌圖片,為本研究提供了充分的材料。 自19世紀(jì)起,在我國長城沿線地帶,陸續(xù)有動(dòng)物紋青銅器出土,這類器物獨(dú)具草原特色,主要集中在鄂爾多斯及周邊地區(qū),故稱為鄂爾多斯青銅器。鄂爾多斯青銅器是以匈奴族為主的活躍在北方草原的古代先民創(chuàng)造的,相當(dāng)于從商周到東漢末期,歷經(jīng)千年。在缺少文字記載的古代,鄂爾多斯青銅器無疑是為歷史研究提供了第一手的生動(dòng)的資料。目前,建于我國內(nèi)蒙古東勝市的鄂爾多斯青銅博物館收錄了鄂爾多斯青銅器一萬余件,在呼和浩特市的內(nèi)蒙古博物院也有部分收藏,同時(shí),由于歷史原因,流傳到海外的鄂爾多斯青銅器也有相當(dāng)數(shù)量,目前,在美國紐約大都會(huì)博物館、大英博物館、瑞典遠(yuǎn)東博物館、日本東京博物館都有收藏。其中,青銅飾牌頗具代表性,而馬紋和鹿紋兩種紋飾的飾牌數(shù)量居多,極具象征性。 北方游牧民族自古就是馬背上的民族。氣候、地形、資源等因素造就了這個(gè)民族的好戰(zhàn)、粗獷、勇猛的個(gè)性,就像馬兒一樣有著健壯的體魄,無拘無束地在草原上馳騁。馬就成為了北方草原民族的代名詞。北方草原先民過著游牧的生活,馬兒是重要的交通工具,承載著這個(gè)民族過著千年的遷徙生活；北方草原先民又是好戰(zhàn)的民族,勇士與猛獸或是勇士之間的搏斗更是離不開戰(zhàn)馬。因此,北方草原先民對(duì)馬有著特殊的情感,馬兒甚至被神化。而鹿的善良溫順,恰恰體現(xiàn)著北方草原先民追求和平,恬靜自得的生活狀態(tài)。內(nèi)蒙古的包頭市,“包頭”翻譯成蒙文即“有鹿的地方”。同時(shí),亞歐草原上流行的“鹿石文化”也與鄂爾多斯青銅器中的鹿紋飾牌有著千絲萬縷的聯(lián)系,因此,鹿紋在北方草原先民的生活中也有著重要的意義。在鄂爾多斯青銅飾牌中,還有一類動(dòng)物搏斗或撕咬的紋飾,其中以虎咬鹿最為多見,在這一類飾牌中,歌頌的是北方草原先民猶如猛獸般的強(qiáng)壯的體魄,體現(xiàn)著一種獸型藝術(shù)類比的美學(xué)思想。 本研究從馬紋及鹿紋的造型藝術(shù)特征著手,找出飾牌的單純、對(duì)稱、有節(jié)奏感的美學(xué)規(guī)律及狂野、樸拙之藝術(shù)風(fēng)格,通過飾牌與宗教、文化之間的聯(lián)系,分析北方草原先民對(duì)馬的神化及追求和平的審美心理。
[Abstract]:This research is based on aesthetics, by means of the combination of object shape research, literature research and historical research, through the study of the patterns of horse and deer patterns in the bronze plate of Ordos. It reveals the national aesthetic pattern and cultural connotation behind the art of Bronze Decoration in Ordos. In the course of the study, the author went to Erdos region many times to investigate, and obtained a lot of humanistic background information about the bronze ware in Ordos. In a recent field survey, the study focused on the Ordos Bronze Museum and Inner Mongolia Museum, and took a large number of bronze plate pictures, which provided sufficient materials for this study. Since 19th century, along the the Great Wall in China, there have been unearthed animal grain bronzes, which have unique grassland characteristics, mainly concentrated in Ordos and its surrounding areas. Therefore called Ordos bronzes. Ordos bronzes are mainly Hun people active in the northern grassland of the ancient ancestors created, equivalent to the end of the Eastern Han Dynasty, after thousands of years. In the lack of written records of the ancient times. There is no doubt that Ordos Bronze provides first-hand and vivid information for historical research. At present, the Ordos Bronze Museum, built in Dongsheng, Inner Mongolia, contains more than 10,000 Ordos bronzes. In Hohhot City, Inner Mongolia Museum also has some collections, at the same time, due to historical reasons, there are a considerable number of bronzes spread overseas, at present, in the Metropolitan Museum of New York. The British Museum, the Swedish Museum of the far East and the Tokyo Museum of Japan all have collections. Among them, bronze medals are representative, while horse and deer patterns are the most numerous and symbolic. The nomadic people of the north have been the people on horseback since ancient times. The climate, topography, resources and other factors have created the belligerent, rugged, brave personality of this people, just like horses have a strong physique. The horse became the synonym of the northern grassland nation. The northern grassland ancestors lived a nomadic life, and the horse was an important means of transportation, carrying the nation for thousands of years of migration. The ancestors of the northern grasslands were belligerent, and the fighting between the warriors and the beasts or the warriors could not be separated from the horses. Therefore, the ancestors of the northern grasslands had special feelings for the horses. Horses are even deified. And the docile deer exactly reflects the northern grassland ancestors pursuit of peace, quiet and self-satisfied state of life. Baotou City, Inner Mongolia. Baotou is translated as "where there are deer". At the same time, the popular "deer culture" on the Eurasian steppe is inextricably related to the deer patterns in bronze ware in Ordos. Deer patterns are also of great significance in the life of the ancestors of the northern grasslands. In the bronze medal of Ordos, there is also a kind of animal fighting or biting ornaments, among which the tiger bite deer is the most common, in this kind of decoration card. It is the strong physique of the ancestors of the northern prairie, which embodies the aesthetic thought of the comparison of the art of the animal type. This study starts with the stylistic characteristics of horse and deer stripes, and finds out the simple, symmetrical, rhythmic aesthetic law and wild, honest artistic style of the card, through the relationship between the card and religion, culture. This paper analyzes the divinity of horses and the aesthetic psychology of seeking peace among the ancestors of the northern grasslands.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：K876.41

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