戰(zhàn)國秦漢妝奩研究
發(fā)布時間：2018-07-28 18:28
【摘要】：妝奩是古人盛放梳妝用品的器具,首先出現(xiàn)于南方的楚國,經(jīng)秦的發(fā)展,至漢代,漆奩的裝飾非常豪華。本文擬對戰(zhàn)國漆奩、秦漆奩、漢漆奩,以及紋樣、裝飾技法、形制演變做出綜合研究,并探討其中的相關(guān)問題。 除緒論外,本文分為八章。 緒論部分,首先簡要交代戰(zhàn)國秦漢時期漆器發(fā)展簡史、早期文獻記載及漆器的主要種類。其次,界定本文所指“漆質(zhì)妝奩”的概念,奩的文獻記載及考古發(fā)現(xiàn),并介紹本文的選題目的及研究方法。指出戰(zhàn)國秦漢妝奩產(chǎn)生、發(fā)展、繁榮的過程。經(jīng)戰(zhàn)國秦漢時期的發(fā)展,妝奩無論在形制上還是裝飾工藝上,都發(fā)生了巨大的變化,因此,妝奩的綜合研究不僅非常有必要,而且具有相當(dāng)?shù)膶W(xué)術(shù)意義。 第一章,對戰(zhàn)國秦漢漆奩的胎骨及內(nèi)部物品進行分析。漆器成型主要是靠制胎,漆器胎骨或稱為器骨,是漆飾的依托。漆奩作為小型日常器具,其胎骨應(yīng)以輕便為宜,主要有木胎、布脫胎,以及少量的復(fù)合胎骨。本文著重探討了布脫胎的命名及其出現(xiàn)時代,指出布脫胎輕巧結(jié)實,造型穩(wěn)定,適宜制造形狀復(fù)雜且不規(guī)則的器物。 墓葬所出的漆奩,內(nèi)部存放的物品主要分面部化妝品、梳妝工具、發(fā)飾及其他一些物品。梳妝用具的形狀直接影響到了漢代多子奩內(nèi)部子奩的形狀。筆者把秦漢時期的面部美容用品細(xì)化為基本護膚、粉妝、點唇、胭脂、眉飾等幾個方面。梳妝工具分為銅鏡、梳、篦、銅刷、鑷子、刮刀、眉筆、黛板等。最后介紹了常見的發(fā)飾如笄、簪等固定發(fā)髻的束發(fā)用具,以及假發(fā)、花椒等。 第二章,對漆奩的紋樣類型及構(gòu)圖形式進行分析。紋樣是裝飾藝術(shù)中一個重要內(nèi)容,是按照一定圖案結(jié)構(gòu),經(jīng)過寫實、抽象等方法而逐漸定型化的圖形。戰(zhàn)國秦漢時期漆奩上的裝飾紋樣,類別和數(shù)量非常多,紋樣更加繁復(fù)多變。戰(zhàn)國時期漆奩的裝飾技法以彩繪為主,有寫實和變形夸張兩種表現(xiàn)手法。漢代的漆奩還借助于錐畫、貼飾金箔片紋樣來進行裝飾。紋樣分為動物紋樣、植物紋樣、自然景象紋樣、幾何紋樣、社會生活和神話傳說紋樣。紋樣總是按照一定的方式組合起來的,這種組合方式稱為紋樣的構(gòu)成形式。適合紋樣、獨立紋樣和連續(xù)紋樣這三種構(gòu)成形式是漆奩最基本的紋樣構(gòu)成形式。漆奩的適合紋樣是依據(jù)漆奩的造型,描繪出與器形相適合的紋樣。獨立紋樣是指在漆器的器物中心位置或某一面上,描繪獨立的個體單位或幾個單位的裝飾紋樣。當(dāng)獨立紋樣由幾個單元組成時,其基本組合形式有對稱、旋轉(zhuǎn)、平衡、輻射等幾種。漆奩的中心紋樣周圍,往往飾以連續(xù)的帶狀紋樣,增加了器皿的層次感及美感。這種紋樣以二方連續(xù)居多,絕大多數(shù)是橫式的左右聯(lián)系。漆奩蓋與壁上的連續(xù)紋樣之所以醒目,離不開色線和色帶。它們能夠使零散多變的紋飾歸于統(tǒng)一。 第三章,對漆奩的裝飾工藝進行分析。戰(zhàn)國、秦漢時期的漆奩,其器表的裝飾幾乎都在黑(褐)這類深色地漆上進行的。漆奩上豐富多樣的裝飾紋樣是通過彩繪、錐畫、金屬嵌、貼飾金銀箔片等裝飾工藝表現(xiàn)出來的。從器物藝術(shù)裝飾的角度看,不同時代的漆奩,其裝飾方式的側(cè)重點,具有比較鮮明的時代氣息和濃厚的民族特色,體現(xiàn)了工藝技術(shù)的變化。彩繪是漆器最基本的裝飾手法。楚國出土的漆奩往往是用多種顏色的漆液或油彩在漆奩上繪制紋樣。彩繪主要分為線描、平涂、堆漆和渲染四種方法。最常用的方法是線描與平涂。錐畫是用尖銳的針或錐作繪畫筆刻劃而成的紋飾。錐畫漆器經(jīng)過了戰(zhàn)國時期的草創(chuàng)期,主要流行于西漢中期以前。西漢中期以后,漆奩上的錐畫逐漸讓位于新興的嵌金屬扣、貼金銀箔片、鑲嵌寶石等工藝,裝飾性更強。 第四章,對戰(zhàn)國時期的漆奩產(chǎn)生的背景、漆奩資料的來源、漆奩的種類和形制以及楚式漆奩的特征進行分析。漆奩作為日用小型用具是戰(zhàn)國中后期以后,在楚國首先出現(xiàn)的。秦攻占楚郢都之前,江漢平原出土的楚國漆奩是典型的楚式漆奩。秦取楚國郢都之后,楚式漆奩的資料來源于湖南地區(qū)的楚墓、安徽及周邊地區(qū)的楚墓、巴蜀的楚移民墓葬。由于漆奩出現(xiàn)較晚,楚墓中出土的漆奩數(shù)量并不多。從漆奩出現(xiàn)到楚國滅亡,歷時百余年,這期間漆奩型制變化不是很大,變化主要體現(xiàn)在形體的大小、紋樣、胎骨等方面,但是,楚國漆器中崇尚紅色、崇尚鳳鳥、巫風(fēng)盛行這三大特點,卻對漢代漆奩的制作、裝飾產(chǎn)生了深遠(yuǎn)的影響。 第五章,對秦漆器的考古發(fā)現(xiàn)、秦墓出土漆奩的形制與特征、相關(guān)問題以及秦漆器的新特征進行分析。秦國本土的漆器制作水平相對楚地來說顯得相當(dāng)落后。秦取郢都后,漆奩在江漢地區(qū)秦墓中已成為日用漆器的重要品種。秦墓出土的漆奩形狀有圓形、橢圓形兩種,橢圓奩是新出現(xiàn)的器形。漆奩的胎骨全部為木胎,不見布脫胎。秦漆奩有一半以上素髹無紋飾,漆奩上多見的烙印銘文成為秦漆奩的一個重要特征,反映了秦手工業(yè)生產(chǎn)“物勒工名”的制度。秦圓奩秉承楚國漆奩扁圓形的造型。秦漆奩紋樣除寫實性的鳳鳥外,更多的是各種變形鳥紋,尤其是各種鳥首紋、云鳥紋、“B”字形紋樣。秦占據(jù)楚地之后,不但占有了豐富的漆樹資源,同時也獲得了大量的漆工藝者。秦將許多漆工藝者遷到咸陽,咸陽成為了新的漆器制作中心。秦統(tǒng)治期間,楚文化的一些器形消失了,而實用漆器有所增加。秦生產(chǎn)管理方面的一些經(jīng)驗如“物勒工名”制度、設(shè)立市亭管理工商業(yè)等都被漢代繼承下來并有所發(fā)展。漢代的蜀漢漆器的高度發(fā)展離不開秦在巴蜀的經(jīng)營管理,正是秦在巴蜀的早期開發(fā),才使蜀漢工官漆器成為漢代漆器的代表。 第六章,對漢代漆奩的形制演變以及相關(guān)問題進行探討。全國大部分省份都有漢代漆奩出土。漢代漆奩的器形與裝飾工藝較戰(zhàn)國、秦發(fā)生了巨大的變化。漢代漆奩有圓形、方形(包括長方形、正方形)、橢圓形三類。方奩與橢圓奩常常用來盛放非梳妝用具,圓奩以盛放梳妝用具為主。就妝奩來講,漢代除了扁矮的單層奩外,出現(xiàn)了雙層妝奩,并且流行多子奩。采用圓形、多子奩的形制,且鑲嵌金屬扣、貼飾金銀箔片、蓋頂鑲嵌柿蒂紋銀片,并通過飾云氣紋、動物紋共同構(gòu)建一個神仙世界的漆奩最具漢代特色。兩漢時期,蜀郡與廣漢郡漆器在全國同時期漆器業(yè)中占有相當(dāng)重要的地位。筆者認(rèn)為,四川的漆手工業(yè)是受楚文化的影響,并在此基礎(chǔ)上發(fā)展起來的。秦政府移民入蜀、修建成都城,這些措施促使了四川地區(qū)的開發(fā)。巴蜀在漢己成為重要工業(yè)地區(qū),漢代的金銀銅器的主要材料也主產(chǎn)于巴蜀,這些都導(dǎo)致漢以后全國漆器制造重心轉(zhuǎn)移到四川地區(qū),并促使了漆器與金屬制造業(yè)的結(jié)合,從而產(chǎn)生了名貴的“蜀漢扣器”。廣陵地區(qū)在兩漢四百余年間創(chuàng)造了發(fā)達而瑰麗的漆文化。在戰(zhàn)國晚期到西漢初期,這里的漆器風(fēng)格主要延續(xù)了楚國漆器的特色。西漢中后期以后,廣陵的漆器制作已經(jīng)十分發(fā)達,漆器的品種以常見的日用器為主。西漢中后期的豪華漆奩主要出土于廣陵地區(qū),代表了西漢中后期以后漆奩制作的最高水平。 第七章,對漆奩體現(xiàn)出來的漢代的厚葬之風(fēng)及神仙思想進行初步分析。西漢中期以后鑲嵌銀扣、貼飾金銀箔片的漆奩在當(dāng)時的社會是極其昂貴的奢侈品。此類漆奩的使用,反映了漢代在強盛國力的支撐下滋生的奢侈與厚葬之風(fēng)。一個時代的文化氛圍是那個時代器物發(fā)展的土壤,而一個時代的器物,又能夠反映出那個時代的文化面貌。漢代人的神仙世界主要是由云氣、神山、仙人、祥瑞等主要元素構(gòu)成的。漢代社會的求仙思想在漢代漆奩上有非常明顯的時代烙印,多子奩寄寓了漢代人祈求多子多孫的愿望。 第八章,作為余論,簡述了兩漢以后妝奩的發(fā)展。三國、兩晉到隋唐時期,從考古資料來看,漆奩的數(shù)量不多,漆奩延續(xù)了漢代漆奩的傳統(tǒng)造型,漆藝在日臻成熟中又有所演進。漢代流行的多子奩到五代及宋元時期,演變成逐層套起的套奩。明清妝奩的設(shè)計向兩個方向發(fā)展：一類妝奩繼承了戰(zhàn)國以來漆奩小巧便攜的特點；另一類已演變成不易搬動的家具。
[Abstract]:It first appeared in the south of Chu state. After the development of the Qin Dynasty, after the development of the Qin Dynasty, the decoration of the paint was very luxurious. This article is intended to make a comprehensive study of the Warring States paint, Qin lacquer, Han paint, patterns, decorative techniques and the evolution of shape, and discuss the related problems.
In addition to the introduction, this article is divided into eight chapters.
In the introduction part, the brief history of the development of the lacquer ware in the Warring States and the Qin and Han Dynasties, the early documents and the main types of lacquerware are briefly introduced. Secondly, the concept of "enamel makeup" is defined, the literature records and archaeological discoveries are defined, and the purpose and the research methods of this article are introduced, and the process of the development and prosperity of the Qin and Han Dynasties in the Warring States and Qin and Han Dynasties is pointed out. After the development of the Warring States and Qin Dynasty and the Qin and Han Dynasties, great changes have taken place in both the form and the decorative process. Therefore, the comprehensive study of the makeup is not only necessary but also of considerable academic significance.
The first chapter is the analysis of the fetal bone and the internal articles of the Warring States and Qin and Han Dynasties. The lacquer ware is mainly based on the making of the fetus, the lacquer bone or the bone, which is the backing of the lacquer. In its emergence, it is pointed out that cloth removal is light, strong and stable in shape, and is suitable for making complex and irregular shapes.
The interior items are mainly divided into facial cosmetics, dressing tools, hair ornaments and other items. The shape of the toiletries has a direct impact on the shape of the interior of the Han Dynasty. The facial beauty products of the Qin and Han Dynasties are refined into basic skin care, make-up, lip, rouge, eyebrow and so on. The tools are divided into bronze mirrors, comb, comb, copper brush, tweezers, scrapers, eyebrow brushes, and Daiban. Finally, the common hair ornaments such as hairpins, hairpins, hairpins, wigs, pepper and so on are introduced.
In the second chapter, the pattern and composition form of the paint are analyzed. The pattern is an important part of the decorative art. It is a pattern which is gradually finalized according to a certain pattern structure, through realistic and abstract methods. The decorative patterns on the Warring States and Qin and Han Dynasties are very large in category and number, and the patterns are more complex. The decorative techniques of the Han Dynasty are mainly painted, with two kinds of expressive and exaggerated expressive techniques. The Han Dynasty has also used the pyramid painting and the ornament of gold foil to decorate. The pattern is divided into animal pattern, plant pattern, natural scene pattern, geometric pattern, social life and myth telling pattern. The pattern is always combined in a certain way. This combination is called the form of the pattern. The three form of the pattern, the independent pattern and the continuous pattern is the most basic form of the pattern. The suitable pattern is based on the shape of the paint. The independent pattern refers to the center position of the utensils or a certain side of the lacquer. Depicting the decorative patterns of independent individual units or units. When independent patterns are made up of several units, their basic combinations are symmetrical, rotated, balanced, and radiant. Around the central pattern of the enamel, it is often decorated with continuous banded patterns that increase the sense of the layer and the beauty of the utensils. The pattern is in a continuous and vast number of two parties. Most of them are the right and left connections of the transverse type. The continuous patterns of the painted cover and the wall are striking, and the color lines and ribbons can not be separated. They can make the scattered and varied ornamentation unify.
The third chapter is an analysis of the decorative craft of the paint. In the Warring States period and the Qin and Han Dynasties, the ornament of its instrument is almost all in dark (brown) dark paint. The rich and varied decorative patterns on the paint are displayed by painted, cone, metal, and silver foil. From the angle of the art decoration of the utensils, The focus of decorative patterns in different times has a distinct flavor of the times and a strong national feature. It embodies the change of technology. The painted painting is the most basic decoration technique of the lacquer ware. There are four methods of painting and rendering. The most commonly used methods are line drawing and flat painting. Cones are carved with sharp needles or cones. After the Warring States period, the cones are popular in the middle of the Western Han Dynasty. After the middle of the Western Han Dynasty, the cones on the paint are gradually placed in the new metal chaff and affixed to gold and silver chaff. Inlaid stones and other processes, more decorative.
The fourth chapter is the background of the paints in the Warring States period, the source of the materials, the types and forms of the paints, and the characteristics of the Chu style paint. After Qin took Chu Ying capital in Chu state, the data of Chu style paint came from Chu tombs in Hunan, Chu tombs in Anhui and its surrounding areas, and the tomb of Chu immigrants in Bashu. It is reflected in the size of the body, the pattern, the fetal bone and so on. However, the three characteristics of the Chu lacquer ware are the worship of red, the Phoenix and the prevailing witchcraft, which have a profound influence on the production and decoration of the Han Dynasty.
The fifth chapter, the archaeological discovery of Qin lacquer ware, the form and characteristics of the unearthed paints in Qin Dynasty, the related problems and the analysis of the new features of the Qin lacquer ware. The local lacquer production level of the Qin state is relatively backward compared to the Chu area. The shape has round and oval shape, and the ellipse is a new form. The fetal bone of the enamel is all wood, without cloth. More than half of the Qin paints are painted without ornamentation, and the imprint inscription on the paint is an important feature of Qin Qilian. It reflects the system of "the name of the lacquer" in Qin's handicraft industry. Qin yuan adheres to the system of Qin Qilian. In addition to the realistic Phoenix, more is a variety of deformed bird lines, especially all kinds of bird's first lines, cloud bird lines and "B" pattern. After Qin occupied the Chu area, not only has the rich lacquer tree resources but also a large number of lacquer craftsmen. Qin changed a lot of lacquer craft to Xianyang, Xianyang became During the period of the Qin Tong Dynasty, some organs of Chu culture disappeared and the practical lacquer ware increased. Some experience in the management of Qin's production, such as the "lacquer name" system, the establishment of the City Pavilion management and commerce, were all inherited and developed by the Han Dynasty. The high development of the Han Dynasty lacquer of Shu Han was inseparable from Qin's in Bashu It was the early development of Qin in Ba Shu that made the lacquer ware of Han Dynasty become the representative of Han Dynasty lacquerware.
The sixth chapter discusses the evolution of the shape and the related problems of the Han Dynasty. Most of the provinces in the country have been unearthed in the Han Dynasty. In the Han Dynasty, the art form and decoration technology of the Han Dynasty has changed greatly. The Han Dynasty has a great change in the Qin Dynasty. In the Han Dynasty, the Han Dynasty had a double makeup and a popular multi child, with a round, multi child shape, with metal buckles, a gold and silver foil, the top inlaid with a persimmon silver film, and an animal pattern together to build a fairy in the Han Dynasty. In the Han Dynasty, Shu county and Guanghan County lacquer ware played an important role in the national lacquerware industry in the Han Dynasty. The author believed that the lacquer industry in Sichuan was influenced by Chu culture and developed on this basis. The Qin government moved to Shu and built the city of Chengdu. These measures prompted the opening of the Sichuan region. In the Han Dynasty, Bashu became an important industrial area, and the main materials of the gold and silver bronze ware in the Han Dynasty were mainly produced in Bashu, which all led to the transfer of the center of center of lacquer manufacture to Sichuan area after the Han Dynasty, and the combination of lacquer and metal manufacturing, thus producing the famous "Shu Han buckle". The Guangling area was created in the last four hundred years of the Han Dynasty. Developed and magnificent lacquer culture. From the late Warring States to the early Western Han Dynasty, the style of lacquer lacquer in the Western Han Dynasty mainly continued the characteristics of the Chu lacquer. After the late Western Hanzhoung, the lacquer ware in Guangling was very developed and the varieties of lacquerware were mainly used in the daily use. The late Western Hanzhoung was mainly unearthed in Guangling area, representing the West. The highest level of paint produced in the later period of Hanzhoung.
In the seventh chapter, a preliminary analysis of the deep burial wind and the immortal thoughts of the Han Dynasty was carried out in the Han Dynasty. After the middle of the Han Dynasty, the silver buckles were inlaid and painted with gold and silver foil were extremely expensive in the society at that time. The cultural atmosphere of the generation is the soil of the development of the utensils in that time, and the artifacts of an era can reflect the cultural features of the times. The world of the Han Dynasty is mainly composed of the main elements of the clouds, Koyama, the fairy, and the auspiciousness. The desire to pray for many sons and daughters in the Han Dynasty was placed in the Han Dynasty.
The eighth chapter, as a theory, describes the development of makeup after the Han Dynasty. In the Three Kingdoms, the Jin Dynasty, the Jin Dynasty to the Sui and Tang Dynasties, from the archaeological data, the number of paints was not much. The lacquer painting continued the traditional sculpt of the Han Dynasty, and the lacquer art evolved in the maturing of the Han Dynasty. The design of clear makeup is developing in two directions: one kind of makeup is inherited from the Warring States period, and the other is the furniture which is not easy to move.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2011
【分類號】：K875
本文編號：2151221
[Abstract]:It first appeared in the south of Chu state. After the development of the Qin Dynasty, after the development of the Qin Dynasty, the decoration of the paint was very luxurious. This article is intended to make a comprehensive study of the Warring States paint, Qin lacquer, Han paint, patterns, decorative techniques and the evolution of shape, and discuss the related problems.
In addition to the introduction, this article is divided into eight chapters.
In the introduction part, the brief history of the development of the lacquer ware in the Warring States and the Qin and Han Dynasties, the early documents and the main types of lacquerware are briefly introduced. Secondly, the concept of "enamel makeup" is defined, the literature records and archaeological discoveries are defined, and the purpose and the research methods of this article are introduced, and the process of the development and prosperity of the Qin and Han Dynasties in the Warring States and Qin and Han Dynasties is pointed out. After the development of the Warring States and Qin Dynasty and the Qin and Han Dynasties, great changes have taken place in both the form and the decorative process. Therefore, the comprehensive study of the makeup is not only necessary but also of considerable academic significance.
The first chapter is the analysis of the fetal bone and the internal articles of the Warring States and Qin and Han Dynasties. The lacquer ware is mainly based on the making of the fetus, the lacquer bone or the bone, which is the backing of the lacquer. In its emergence, it is pointed out that cloth removal is light, strong and stable in shape, and is suitable for making complex and irregular shapes.
The interior items are mainly divided into facial cosmetics, dressing tools, hair ornaments and other items. The shape of the toiletries has a direct impact on the shape of the interior of the Han Dynasty. The facial beauty products of the Qin and Han Dynasties are refined into basic skin care, make-up, lip, rouge, eyebrow and so on. The tools are divided into bronze mirrors, comb, comb, copper brush, tweezers, scrapers, eyebrow brushes, and Daiban. Finally, the common hair ornaments such as hairpins, hairpins, hairpins, wigs, pepper and so on are introduced.
In the second chapter, the pattern and composition form of the paint are analyzed. The pattern is an important part of the decorative art. It is a pattern which is gradually finalized according to a certain pattern structure, through realistic and abstract methods. The decorative patterns on the Warring States and Qin and Han Dynasties are very large in category and number, and the patterns are more complex. The decorative techniques of the Han Dynasty are mainly painted, with two kinds of expressive and exaggerated expressive techniques. The Han Dynasty has also used the pyramid painting and the ornament of gold foil to decorate. The pattern is divided into animal pattern, plant pattern, natural scene pattern, geometric pattern, social life and myth telling pattern. The pattern is always combined in a certain way. This combination is called the form of the pattern. The three form of the pattern, the independent pattern and the continuous pattern is the most basic form of the pattern. The suitable pattern is based on the shape of the paint. The independent pattern refers to the center position of the utensils or a certain side of the lacquer. Depicting the decorative patterns of independent individual units or units. When independent patterns are made up of several units, their basic combinations are symmetrical, rotated, balanced, and radiant. Around the central pattern of the enamel, it is often decorated with continuous banded patterns that increase the sense of the layer and the beauty of the utensils. The pattern is in a continuous and vast number of two parties. Most of them are the right and left connections of the transverse type. The continuous patterns of the painted cover and the wall are striking, and the color lines and ribbons can not be separated. They can make the scattered and varied ornamentation unify.
The third chapter is an analysis of the decorative craft of the paint. In the Warring States period and the Qin and Han Dynasties, the ornament of its instrument is almost all in dark (brown) dark paint. The rich and varied decorative patterns on the paint are displayed by painted, cone, metal, and silver foil. From the angle of the art decoration of the utensils, The focus of decorative patterns in different times has a distinct flavor of the times and a strong national feature. It embodies the change of technology. The painted painting is the most basic decoration technique of the lacquer ware. There are four methods of painting and rendering. The most commonly used methods are line drawing and flat painting. Cones are carved with sharp needles or cones. After the Warring States period, the cones are popular in the middle of the Western Han Dynasty. After the middle of the Western Han Dynasty, the cones on the paint are gradually placed in the new metal chaff and affixed to gold and silver chaff. Inlaid stones and other processes, more decorative.
The fourth chapter is the background of the paints in the Warring States period, the source of the materials, the types and forms of the paints, and the characteristics of the Chu style paint. After Qin took Chu Ying capital in Chu state, the data of Chu style paint came from Chu tombs in Hunan, Chu tombs in Anhui and its surrounding areas, and the tomb of Chu immigrants in Bashu. It is reflected in the size of the body, the pattern, the fetal bone and so on. However, the three characteristics of the Chu lacquer ware are the worship of red, the Phoenix and the prevailing witchcraft, which have a profound influence on the production and decoration of the Han Dynasty.
The fifth chapter, the archaeological discovery of Qin lacquer ware, the form and characteristics of the unearthed paints in Qin Dynasty, the related problems and the analysis of the new features of the Qin lacquer ware. The local lacquer production level of the Qin state is relatively backward compared to the Chu area. The shape has round and oval shape, and the ellipse is a new form. The fetal bone of the enamel is all wood, without cloth. More than half of the Qin paints are painted without ornamentation, and the imprint inscription on the paint is an important feature of Qin Qilian. It reflects the system of "the name of the lacquer" in Qin's handicraft industry. Qin yuan adheres to the system of Qin Qilian. In addition to the realistic Phoenix, more is a variety of deformed bird lines, especially all kinds of bird's first lines, cloud bird lines and "B" pattern. After Qin occupied the Chu area, not only has the rich lacquer tree resources but also a large number of lacquer craftsmen. Qin changed a lot of lacquer craft to Xianyang, Xianyang became During the period of the Qin Tong Dynasty, some organs of Chu culture disappeared and the practical lacquer ware increased. Some experience in the management of Qin's production, such as the "lacquer name" system, the establishment of the City Pavilion management and commerce, were all inherited and developed by the Han Dynasty. The high development of the Han Dynasty lacquer of Shu Han was inseparable from Qin's in Bashu It was the early development of Qin in Ba Shu that made the lacquer ware of Han Dynasty become the representative of Han Dynasty lacquerware.
The sixth chapter discusses the evolution of the shape and the related problems of the Han Dynasty. Most of the provinces in the country have been unearthed in the Han Dynasty. In the Han Dynasty, the art form and decoration technology of the Han Dynasty has changed greatly. The Han Dynasty has a great change in the Qin Dynasty. In the Han Dynasty, the Han Dynasty had a double makeup and a popular multi child, with a round, multi child shape, with metal buckles, a gold and silver foil, the top inlaid with a persimmon silver film, and an animal pattern together to build a fairy in the Han Dynasty. In the Han Dynasty, Shu county and Guanghan County lacquer ware played an important role in the national lacquerware industry in the Han Dynasty. The author believed that the lacquer industry in Sichuan was influenced by Chu culture and developed on this basis. The Qin government moved to Shu and built the city of Chengdu. These measures prompted the opening of the Sichuan region. In the Han Dynasty, Bashu became an important industrial area, and the main materials of the gold and silver bronze ware in the Han Dynasty were mainly produced in Bashu, which all led to the transfer of the center of center of lacquer manufacture to Sichuan area after the Han Dynasty, and the combination of lacquer and metal manufacturing, thus producing the famous "Shu Han buckle". The Guangling area was created in the last four hundred years of the Han Dynasty. Developed and magnificent lacquer culture. From the late Warring States to the early Western Han Dynasty, the style of lacquer lacquer in the Western Han Dynasty mainly continued the characteristics of the Chu lacquer. After the late Western Hanzhoung, the lacquer ware in Guangling was very developed and the varieties of lacquerware were mainly used in the daily use. The late Western Hanzhoung was mainly unearthed in Guangling area, representing the West. The highest level of paint produced in the later period of Hanzhoung.
In the seventh chapter, a preliminary analysis of the deep burial wind and the immortal thoughts of the Han Dynasty was carried out in the Han Dynasty. After the middle of the Han Dynasty, the silver buckles were inlaid and painted with gold and silver foil were extremely expensive in the society at that time. The cultural atmosphere of the generation is the soil of the development of the utensils in that time, and the artifacts of an era can reflect the cultural features of the times. The world of the Han Dynasty is mainly composed of the main elements of the clouds, Koyama, the fairy, and the auspiciousness. The desire to pray for many sons and daughters in the Han Dynasty was placed in the Han Dynasty.
The eighth chapter, as a theory, describes the development of makeup after the Han Dynasty. In the Three Kingdoms, the Jin Dynasty, the Jin Dynasty to the Sui and Tang Dynasties, from the archaeological data, the number of paints was not much. The lacquer painting continued the traditional sculpt of the Han Dynasty, and the lacquer art evolved in the maturing of the Han Dynasty. The design of clear makeup is developing in two directions: one kind of makeup is inherited from the Warring States period, and the other is the furniture which is not easy to move.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2011
【分類號】：K875
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