本文選題：赤峰地區(qū) + 人面巖畫�。� 參考：《中央民族大學(xué)》2013年碩士論文

【摘要】：赤峰巖畫是內(nèi)蒙古乃至中國北方巖畫系統(tǒng)的一個(gè)重要組成部分,其中,人面巖畫在赤峰地區(qū)占有較高的比例,呈現(xiàn)出豐富而具有鮮明特色的藝術(shù)表現(xiàn)形式,十分引人注目。然而,目前對于赤峰人面巖畫的專門研究尚不充分,本文旨在對赤峰人面巖畫進(jìn)行較為全面的材料搜集與分類梳理,并在此基礎(chǔ)上進(jìn)行巖畫圖像演進(jìn)規(guī)律、內(nèi)涵與功能變遷以及時(shí)空中相對關(guān)系的探討。 通過文獻(xiàn)閱讀、實(shí)地踏查以及后期的數(shù)據(jù)統(tǒng)計(jì)整理,赤峰巖畫的現(xiàn)狀基本上得以厘清。以物質(zhì)資料為基礎(chǔ),本文采用宗教學(xué)、圖像學(xué)、考古學(xué)三位一體的研究方式,經(jīng)過三條線索的分別闡述和交互映證,最終得出比較一致的結(jié)論。研究要點(diǎn)包括,利用原始信仰與宗教發(fā)展演變的規(guī)律與圖像形式風(fēng)格演替過程相互映證,得出赤峰入面巖畫的圖像分類與相對時(shí)代關(guān)系；通過考古學(xué)文化的直接證據(jù)支持與圖形符號的對比研究展開進(jìn)一步的年代分析；在前有的功能探討與斷代研究基礎(chǔ)上,以赤峰翁牛特旗地區(qū)四遺址為例,進(jìn)行時(shí)空關(guān)系及傳統(tǒng)源流的專門探討。 文章認(rèn)為,赤峰人面巖畫整體可分為年代前后相繼的兩個(gè)大的階段,這兩個(gè)階段在時(shí)間上有一定的重合,但文化面貌存在差異。第一個(gè)階段又可細(xì)分為兩種風(fēng)格,兩者間存在明顯的繼承與變異。圖像形式的演變與其背后的精神性緊密相關(guān)。反過來,原始宗教與信仰心理的演進(jìn)又更深刻地反映出圖像形式的功能含義變遷。同時(shí),在特殊的歷史地理環(huán)境中,聯(lián)系考古學(xué)研究相關(guān)成果,本文大致確立了抽象神面——抽象神面變體——寫實(shí)人面——完整人像各個(gè)階段人面巖畫的年代范圍。翁旗四遺址巖畫傳統(tǒng)的關(guān)系研究,是放在時(shí)空的雙向坐標(biāo)中進(jìn)行的,在實(shí)踐的同時(shí)檢驗(yàn)了上述結(jié)論。 多層面立體架構(gòu)中的巖畫研究有助于摒除主觀性和片面性。不同的研究主線分別在赤峰人面巖畫的功能與內(nèi)涵、圖像形式發(fā)展規(guī)律、空間位置與制作傳統(tǒng)的關(guān)系、巖畫的初步斷代這幾個(gè)主要問題上作出解釋；綜合來看,這幾條主線又密切相關(guān),結(jié)論整體趨向一致。
[Abstract]:Chifeng rock painting is an important part of rock painting system in Inner Mongolia and even northern China. Among them, face rock painting occupies a high proportion in Chifeng area, showing rich and distinctive artistic expression form, which is very attractive. However, at present, the special research on Chifeng face rock painting is not enough. The purpose of this paper is to collect and sort out more comprehensive materials for Chifeng face rock painting, and on this basis, to carry out the evolution law of rock painting image. Discussion on the change of connotation and function and the relative relationship in time and Space. The current situation of Chifeng rock paintings is basically clarified through literature reading, field investigation and statistical analysis of later data. On the basis of material data, this paper adopts the trinity of religion, graphics and archaeology, through the elaboration of three clues and mutual reflection of evidence, finally comes to a relatively consistent conclusion. The main points of the study are as follows: the relationship between image classification and relative times of Chifeng rock paintings is obtained by using the law of the evolution of primitive beliefs and religious development and the evolution process of image form style. Through the direct evidence support of archaeological culture and the comparative study of graphic symbols to carry out further age analysis, on the basis of the previous research on some functions and dynasties, taking the four sites of Chifeng Wuniuteqi area as an example, The relationship between time and space and the traditional origin of the special discussion. The paper holds that the whole of Chifeng's face rock paintings can be divided into two major stages in succession before and after the age, and the two stages overlap in time, but there are differences in cultural features. The first stage can be subdivided into two styles, there are obvious inheritance and variation between the two. The evolution of image form is closely related to the spirit behind it. On the other hand, the evolution of primitive religion and belief psychology reflects the change of functional meaning of image form more deeply. At the same time, in the special historical and geographical environment, in connection with the related achievements of archaeological research, this paper roughly establishes the age range of the various stages of the rock paintings of the abstract god face-the abstract god surface variant-the realistic person face-the complete figure. The traditional relation study of rock paintings in Weng Qi four sites is carried out in the two direction coordinates of time and space, and the above conclusions are tested in practice at the same time. The study of rock painting in multi-dimensional framework helps to eliminate subjectivity and one-sidedness. The main lines of different research lines are explained on the main problems of the function and connotation of Chifeng face rock painting, the law of the development of image form, the relationship between space position and production tradition, the preliminary dating of rock painting. These main lines are closely related to each other, and the conclusions tend to be consistent as a whole.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：K879.4

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本文編號：1877415