【摘要】：“四神”又稱“四靈”、“四象”、“四維”、“四宮”、“四獸”等，從商代出現(xiàn)為始，可以說在中國(guó)文化發(fā)展的每一階段，它都有不同的形態(tài)�！妒酚洝贰ⅰ稘h書》、《禮記》、《淮南子》等古代文獻(xiàn)都有所記載。較早的文獻(xiàn)《禮記·禮運(yùn)》稱“龍、鳳、龜、麟”為“四靈”，西漢末年的《禮緯·稽命征》和王莽《大誥》則將“麟、鳳、龍、龜、白虎”合稱為“五靈”，現(xiàn)在通常所指的“四神”是遵從了《三輔黃圖》的說法，是對(duì)青龍、白虎、朱雀和玄武的統(tǒng)稱。 四神作為一個(gè)有系統(tǒng)的具體形象，，從春秋戰(zhàn)國(guó)到兩宋，在遺存的石刻、壁畫、銅鏡、瓦當(dāng)?shù)却罅康目脊挪牧仙暇畜w現(xiàn)，是一類主要的紋樣之一。前輩學(xué)者對(duì)四神的研究大多集中在四神圖像的個(gè)案研究，或以文獻(xiàn)記載對(duì)四神的起源進(jìn)行探索上；對(duì)四神考古材料的研究雖有，但大多是將之作為論據(jù)就某一問題進(jìn)行論述；而對(duì)四神銅鏡的專題性研究，如對(duì)四神銅鏡的類型學(xué)劃分、演變序列及各型式的地區(qū)傳布的相關(guān)研究則顯得比較薄弱。 本文擬結(jié)合以往的考古發(fā)現(xiàn)和研究成果，通過搜集目前已經(jīng)發(fā)表的館藏和出土銅鏡專著，考古學(xué)報(bào)刊資料中所涉及到的漢代四神銅鏡資料，在前人研究的基礎(chǔ)上，運(yùn)用考古類型學(xué)與文獻(xiàn)資料相結(jié)合的方法，對(duì)漢代的四神銅鏡進(jìn)行全面、系統(tǒng)的梳理和綜合研究。通過對(duì)漢代四神銅鏡的類型學(xué)分析，對(duì)各型式的流行時(shí)間和地區(qū)傳布進(jìn)行初步的探討。 此外，對(duì)于“變異四神銅鏡”和“簡(jiǎn)式四神銅鏡”學(xué)術(shù)界還少有論及，我在文中也提出了個(gè)人的一點(diǎn)學(xué)術(shù)淺見。
[Abstract]:"four gods", also known as "four spirits", "four elephants", "four dimensions", "four palaces", "four beasts" and so on, began with the appearance of the Shang Dynasty. It can be said that at every stage of the development of Chinese culture, it has different forms. Li Ji, Huainan Zi, and other ancient documents have been recorded. The earlier document "Li Ji Li Yun" was called "Dragon, Phoenix, turtle, and Lin" as "four spirits." in the last years of the Western Han Dynasty, the "sign of propriety and wisdom" and Wang Mang's "Dragon, Phoenix, Dragon, Turtle, and White Tiger" were combined as "five spirits." The "four gods", now commonly referred to as "three auxiliary yellow pictures", are the general terms for Azure Dragon, Bai Hu, Vermilion Bird and Black Tortoise. As a systematic and concrete image, the four gods, from the Spring, Autumn and warring States to the Song Dynasty, are embodied in the remains of stone carvings, murals, bronze mirrors, Wadang and other archaeological materials, which are one of the main patterns. The previous scholars' researches on the four gods are mostly focused on the case studies of the images of the four gods, or on the exploration of the origin of the four gods by documentary records, although the archaeological materials of the four gods have been studied, most of them are discussed as arguments on a certain issue. However, the research on the special theme of the four-god bronze mirror, such as the typology of the four-god bronze mirror, the evolution sequence and the regional distribution of each type, appears to be relatively weak. Based on the previous archaeological discoveries and research results, this paper intends to collect the published books on bronze mirrors in the library and unearthed bronze mirrors, and the materials of the four gods of the Han Dynasty, which are included in the archaeological newspapers and periodicals, on the basis of previous studies. By means of the combination of archaeological typology and literature, this paper makes a comprehensive, systematic and comprehensive study of the four gods bronze mirror in the Han Dynasty. Based on the typological analysis of the four-god bronze mirrors in the Han Dynasty, the epidemic time and regional distribution of each type were preliminarily discussed. In addition, the academic circles of "variant four God Bronze Mirror" and "simple four God Copper Mirror" are seldom discussed, and I also put forward a personal academic opinion in this paper.
【學(xué)位授予單位】：暨南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：K875.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王雙雙;漢墓出土禽獸紋帶鏡初步研究[D];鄭州大學(xué);2013年

本文編號(hào)：2420259