本文選題：巖畫風格　切入點：符號　出處：《中國海洋大學(xué)》2010年碩士論文

【摘要】：《中國巖畫與中國文字的關(guān)系》一文由引言、中國巖畫題材及母題、中國巖畫的風格、中國巖畫符號、中國巖畫與中國文字、結(jié)語及參考文獻七部分組成。 引言包括巖畫的研究概況及研究中的問題和中國巖畫的分布兩部分,并根據(jù)巖畫的分布狀況,將中國巖畫分為南北兩大系統(tǒng)。 第一章介紹中國巖畫的題材及母題。中國巖畫題材大致可以分為八種：動物巖畫、生產(chǎn)巖畫、社會生活巖畫、沖突與戰(zhàn)爭巖畫、原始宗教信仰巖畫、計數(shù)符號巖畫、圖畫文字與字母巖畫、娛樂巖畫。這些固定的題材及母題使得巖畫表達的意義、表達的方式趨于固定,同時使得巖畫的風格也趨于穩(wěn)定。 第二章介紹中國巖畫的風格。中國巖畫大體可以分為寫實和寫意兩種風格。寫意風格的巖畫又分為象征性、圖案化、程式化三類。固定的巖畫風格,尤其是寫意風格巖畫為象形文字的出現(xiàn)提供了基礎(chǔ)。而巖畫由寫實向?qū)懸獾霓D(zhuǎn)變過程與文字的發(fā)展過程相同。 第三章介紹中國南北方巖畫中的符號。巖畫符號包括抽象符號和具象符號兩種。中國巖畫風格的不斷發(fā)展,使得符號頻繁出現(xiàn),這是巖畫向文字轉(zhuǎn)變的一種內(nèi)在因素。 第四章介紹中國巖畫與文字的關(guān)系。巖畫中有文字符號,有類似文字的符號,它們與文字相互影響。無文字時代巖畫發(fā)揮著文字的作用,巖畫的發(fā)展過程與文字的發(fā)展過程相似。巖畫是象形文字的起源之一。 本文以大量的巖畫材料為依據(jù),采用歸納和比較的研究方法對巖畫與文字的關(guān)系進行研究,從而確定兩者的關(guān)系。
[Abstract]:The relationship between Chinese Rock painting and Chinese characters is composed of seven parts: introduction, theme and motif of Chinese Rock painting, style of Chinese Rock painting, symbol of Chinese Rock painting, Chinese Rock painting and Chinese characters, conclusion and reference. The introduction includes the general situation of rock painting research and the problems in the study and the distribution of Chinese rock painting. According to the distribution of rock painting, the Chinese rock painting is divided into two major systems of north and south. The first chapter introduces the subject matter and motif of Chinese rock painting. Chinese rock painting can be divided into eight types: animal rock painting, production rock painting, social life rock painting, conflict and war rock painting, primitive religious belief rock painting, counting symbol rock painting. These fixed subject matter and motif make the meaning of the expression of rock painting, the way of expression tend to be fixed, at the same time, the style of rock painting tends to be stable. The second chapter introduces the style of Chinese rock painting. Chinese rock painting can be divided into realistic and freehand style. The rock painting of freehand brushwork style is divided into symbolic, pictorial, stylized, fixed rock painting style. Especially the freehand style rock painting provides the foundation for the appearance of hieroglyphics, and the transformation process of rock painting from realistic to freehand brushwork is the same as the development process of characters. The third chapter introduces the symbols in the rock paintings of the south and north of China. The symbols of rock paintings include abstract symbols and figurative symbols. The continuous development of the style of Chinese rock paintings makes the symbols appear frequently, which is an internal factor in the transformation from rock paintings to characters. The fourth chapter introduces the relationship between Chinese rock paintings and characters. There are character symbols in rock paintings, which are similar to characters, and they interact with characters. In the age of no characters, rock paintings play a role in writing. Rock painting is one of the origins of hieroglyphics. Based on a large number of rock painting materials, this paper studies the relationship between rock painting and characters by means of induction and comparison, so as to determine the relationship between them.
【學(xué)位授予單位】：中國海洋大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：H12;K879.4

【引證文獻】

相關(guān)期刊論文 前1條

1 楊超;;巖畫的“藝術(shù)”問題——兼與石華龍先生商榷[J];學(xué)術(shù)界;2012年08期

，

本文編號：1698491