發(fā)布時(shí)間：2018-06-20 10:04

  本文選題：痕都斯坦 + 玉器�。� 參考：《上海大學(xué)》2010年博士論文

【摘要】： 痕都斯坦玉器是中原玉器發(fā)展史上對(duì)中亞和西亞地區(qū)玉器型式的指稱,也是對(duì)中原玉器藝術(shù)形式演變產(chǎn)生最重要影響的一種外來類型。本文選取了清中期這個(gè)具有強(qiáng)盛國(guó)力與深刻文化內(nèi)涵的時(shí)期作為時(shí)期限定,對(duì)痕都斯坦玉器進(jìn)行跨文化的意義分析和形態(tài)比較,從多個(gè)角度和層面來解讀痕都斯坦玉器的起源、演化、風(fēng)格及其與當(dāng)時(shí)的政治、歷史、文化、哲學(xué)的關(guān)系,從根源上對(duì)痕都斯坦玉器的形式、意義、東傳與再創(chuàng)造做系統(tǒng)的分析和研究。 本文構(gòu)架分為四個(gè)部分來進(jìn)行展開:歷史淵源闡述、地區(qū)風(fēng)格界定、清代痕玉表現(xiàn)、后期的價(jià)值與影響。在各部分的論證中以強(qiáng)調(diào)考據(jù)與義理結(jié)合、宏觀與微觀結(jié)合、平行比較與影響比較結(jié)合,希望達(dá)致以下預(yù)期結(jié)果: (一)探究痕都斯坦玉器型成的地域考證、前承淵源與形制特征; (二)對(duì)其藝術(shù)巔峰的時(shí)代地域特征、文化影響、社會(huì)制度等進(jìn)行歸納整理; (三)探究清代中原玉器自身發(fā)展與痕玉傳入所帶來的審美理念交流與沖突、兩者互為借鑒的過程,以及異域文化對(duì)于中原玉器型態(tài)演變的揭示; (四)以痕都斯坦玉器所顯現(xiàn)的造物精神與中原玉器“載道”、“藏禮”文化精神相印證,通過與清史資料相結(jié)合,驗(yàn)證清高宗對(duì)其欣賞中所蘊(yùn)涵的治國(guó)理想與文化價(jià)值。 清中期痕都斯坦玉器在反映當(dāng)時(shí)政治、文化生活的廣度和深度上,具有文字所缺乏的直觀性與形象性,能夠補(bǔ)充文獻(xiàn)難以記述的細(xì)部與微觀,對(duì)正確全面評(píng)價(jià)清代工藝美術(shù)史大有裨益,是文字之外的一種更為生動(dòng)和具體的記錄歷史的方式。并且,其形式的特殊性為后人在了解不同地區(qū)文化互為交流、演化乃至回歸的循環(huán)上,提供了完整的實(shí)物參照,其存在的作用與意義深刻而久遠(yuǎn)。
[Abstract]:Jiedustan Jade is a reference to the pattern of Jade in Central China and West Asia in the history of the development of Jade in Central Plains. It is also a kind of foreign type which has the most important influence on the evolution of Jade Art form in Central Plains. This paper selects the period of the middle Qing Dynasty, which has the strong national strength and profound cultural connotation, as the time limit, carries on the cross-cultural significance analysis and the form comparison to the Jiedustan Jade, and interprets the origin of the Jade Jade of Jindu Stan from many angles and levels. Evolution, style and its relationship with politics, history, culture and philosophy at that time are systematically analyzed and studied from the root of the form, significance, eastward transmission and re-creation of Jade wares. This paper is divided into four parts: historical origin explanation, regional style definition, Qing Dynasty mark jade performance, late value and influence. In order to emphasize the combination of textual research and righteousness, macro and micro, parallel comparison and influence comparison in each part of the argumentation, the author hopes to achieve the following expected results: (1) the regional textual research of Jade ware made of indussian jade, (2) the regional characteristics and cultural influence on the peak of its art. (3) to explore the exchange and conflict of aesthetic ideas brought about by the development of jade wares in the Central Plains of the Qing Dynasty and the introduction of trace jade. And the foreign cultures reveal the evolution of jade objects in the Central Plains. (4) the spirit of creation and the spirit of the culture of "Zang Li" and "Zang Li" of Jade wares in the Central Plains are confirmed by the spirit of creation shown by the Jade objects of Jade Jade Jade in Jade Jade of the Central Plains. By combining with the historical materials of the Qing Dynasty, it verifies the ideal of governing the country and the cultural value implied in the appreciation of it by the Qing Gaozong. In reflecting the breadth and depth of the political and cultural life of that time, the jade wares in the middle period of the Qing Dynasty were characterized by the intuitive and visual character lacking in the writing, which could supplement the details and microscopes that were difficult to describe in the literature. It is a more vivid and concrete way to record the history of arts and crafts in Qing Dynasty. Moreover, the particularity of its form provides a complete physical reference for future generations to understand the cycle of cultural exchange, evolution and even return in different regions, and its role and significance are profound and long ago.
【學(xué)位授予單位】：上海大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：K876.8

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本文編號(hào)：2043885