【摘要】：饕餮紋和龍紋是商周時期青銅器裝飾藝術的兩大主要題材。殷商是青銅器紋飾發(fā)展的黃金時期。西周初期的青銅器紋飾沿襲商代風格,發(fā)展到西周晚期饕餮紋逐漸衰落,取而代之的是在青銅器上龍形紋飾占據(jù)了主要位置,但此時的龍紋體形較小,與后世真正意義的龍有許多不同之處。本文主要對商周這一時段的青銅器饕餮紋和龍紋進行對比研究,通過解讀青銅器上的這兩類紋飾的表現(xiàn)手法及其內(nèi)涵,從而增進對商周時期青銅器紋飾內(nèi)涵的認識以及青銅器藝術對后世文化的影響。 全文主要分為四章,以及前言和結(jié)語。前言部分包括學術界關于商周時期青銅器上的饕餮紋和龍紋的研究現(xiàn)狀、本文的選題意義,研究方法和創(chuàng)新點。結(jié)語部分對本文研究成果做了簡短的總結(jié)和存在的不足之處。 第一章主要是對殷商時期青銅器墓葬、器形以及青銅器上的饕餮紋和龍紋的發(fā)展狀況進行概述,將商代主要分為三個的時期,即早商、中商和晚商,其中早商又可分為二里岡下層時期和二里岡上層時期,晚商即殷墟時期,又可分為前期、中期、后期三個不同階段。周代則分為西周和東周兩個的時期,西周分為早、中、晚三個不同階段,東周分為春秋、戰(zhàn)國兩個不同時期,而春秋、戰(zhàn)國這兩個時期每個又可分為早、中、晚三個小的階段。這樣的時期劃分是符合青銅器紋飾的發(fā)展規(guī)律,也較有利于各種文獻資料的引用。 第二章是對商周時期青銅器上的饕餮紋和龍紋進行了大致的分類。在分類之前,本章增加了對殷商時期青銅器紋飾鑄造技術的敘述及對青銅器上的圖像銘文進行了闡釋,還分別對饕餮紋和龍紋的各個官能進行闡述,以便于增加對饕餮紋和龍紋的認識。饕餮紋主要是通過不同表現(xiàn)形式及所流行的不同時期進行分類,而龍紋則先從視覺角度作了兩大分類,分別為側(cè)面龍紋和正面龍紋,再進一步列舉了兩類龍紋的多種表現(xiàn)形式。 第三章是對饕餮紋和龍紋這兩類商周時期青銅器上最主要的紋飾進行比較。主要包括其在青銅器上的方向性、官能特征及視覺角度等方面,從而探尋這兩類紋飾的相同之處和不同之處。 第四章是對商周時期饕餮紋和龍紋的內(nèi)涵進行了分析。首先闡釋了商周時期人們對動物的認識情況和對不同動物的不同表現(xiàn)手法,并追根溯源,從商周時期之前的時期找到這兩類紋飾的先型。其次,提出饕餮紋是為商周祭祀活動所服務的,其特有的祭祀性和表現(xiàn)手法等對其它動物紋飾的影響。最后,說明了西周晚期祭祀活動逐漸減少及其原因,其表現(xiàn)在青銅器上的饕餮紋也逐漸被小型龍紋(蟠螭紋)所取代,但饕餮紋的那種氣韻和威嚴卻深深影響了龍形紋飾,使龍紋擔負起王朝禮制的功能,從而使龍紋成為后世皇家權(quán)威的象征,也成為民間最廣為流行的一種吉祥紋飾。
[Abstract]:Taotie grain and dragon grain are the two main themes of bronze decorative art in Shang and Zhou dynasties. The Shang Dynasty was the golden age of the development of bronze ornaments. The bronze ornaments of the early Western Zhou Dynasty followed the style of Shang Dynasty, and gradually declined until the late Western Zhou Dynasty. Instead, the dragon ornaments occupied the main position on the bronze ware, but at this time the dragon patterns were relatively small. There are many differences from the true meaning of dragons in later generations. This article mainly carries on the contrast research to the bronze ware gluttony grain and the dragon grain in this period of Shang and Zhou dynasties, through unscrambling the expression technique and the connotation of these two kinds of patterns on the bronze ware, So as to enhance the understanding of the connotation of bronze ornaments in Shang and Zhou dynasties and the influence of bronze art on the later culture. The full text is divided into four chapters, as well as preface and conclusion. The preface includes the current research situation of Taotie grain and dragon grain on bronze ware in Shang and Zhou dynasties, the significance of this paper, the research methods and innovation points. The conclusion part makes a brief summary of the research results and the shortcomings. The first chapter mainly summarizes the development of bronze gravestones in Shang Dynasty, the shape of bronze vessels and the gluttony and dragon patterns on bronze vessels. The Shang Dynasty is divided into three periods, namely, early Shang Dynasty, Middle Shang Dynasty and late Shang Dynasty, which are the three main periods of Shang Dynasty, namely the early Shang Dynasty, the Middle Shang Dynasty and the late Shang Dynasty. The early Shang can be divided into the lower stage of Erligang and the upper stage of Erligang. The late Shang is the period of Yin ruins, and it can also be divided into three different stages: the early stage, the middle stage and the late stage. The Zhou Dynasty is divided into two periods: the Western Zhou Dynasty and the Eastern Zhou Dynasty. The Western Zhou Dynasty is divided into three different stages: early, middle and late, and the Eastern Zhou is divided into two different periods: the Spring and Autumn period, the warring States period, and the Spring and Autumn period and the warring States period, each of which can be divided into three small stages: early, middle and late. This period division is in line with the development of bronze ornaments, but also more conducive to the use of various literature. The second chapter is the Shang-Zhou period bronzes on the gluttony grain and the dragon grain has carried on the rough classification. Before classifying, this chapter has added the narration to the bronze ware pattern casting technology of the Yin and Shang dynasties, and has carried on the explanation to the bronze ware image inscription, also has carried on the elaboration respectively to the gluttonous grain and the dragon grain each function. In order to increase the understanding of gluttonous and dragon lines. Taotie lines are classified by different forms of expression and popular periods, and dragon lines are classified from the visual point of view, which are respectively lateral and frontal dragon lines, and further enumerate the various forms of expression of the two types of dragon stripes. The third chapter compares the two types of bronzes in Shang and Zhou dynasties. It mainly includes its directionality, functional features and visual angle on bronze ware, so as to explore the similarities and differences between the two kinds of ornaments. Chapter four analyzes the connotation of Taotie grain and dragon grain in Shang and Zhou dynasties. First of all, it explains the understanding of animals and different ways of expression of different animals in Shang and Zhou dynasties, and trace back to the source, from the period before the Shang and Zhou dynasties to find the pre-type of these two kinds of ornaments. Secondly, the author points out that the Taotie grain serves for the sacrificial activities of Shang and Zhou dynasties, and its special sacrificial and expressive methods have an effect on other animal ornaments. Finally, it explains the gradual decrease of sacrificial activities in the late Western Zhou Dynasty and its causes, which are reflected in the gradual replacement of the Taotie patterns on bronze vessels by small dragon patterns (flat chi patterns), but the charm and majesty of the Taotie patterns have deeply influenced the dragon ornaments. The dragon pattern is the symbol of royal authority and the most popular folk auspicious decoration.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J526;K876.41

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