【摘要】：鳳鳥紋是中國(guó)古代裝飾藝術(shù)十分重要的一種紋樣,眾多文獻(xiàn)史料表明,商族的圖騰是鳥,西周祖先起源上有鳥的護(hù)佑,這些信息不僅為對(duì)于研究古代美術(shù)史、分期斷代有重要意義,也為打開商周時(shí)期人們的精神世界的大門提供了重要線索,為研究當(dāng)時(shí)社會(huì)的意識(shí)形態(tài)找到了依據(jù),同時(shí),更增加了鳳鳥紋這個(gè)特殊紋飾在商周青銅器紋飾研究中的重要意義。 本文將利用圖像學(xué)、考古類型學(xué)以及美術(shù)考古學(xué)的方法,收集整理商周青銅器上紋飾資料,尋找有關(guān)鳳鳥紋的蛛絲馬跡,從一個(gè)新的角度入手,重新闡釋商代饕餮紋以及商周鳳鳥紋的造型、類型、來(lái)源、發(fā)展、演變、內(nèi)涵等相關(guān)問(wèn)題,為研究商周社會(huì)文化、宗教信仰提供新的思路。本文通過(guò)對(duì)考古材料、古文字材料和文獻(xiàn)材料的梳理,利用圖像學(xué)的一些知識(shí),對(duì)這一時(shí)期青銅器紋飾之鳳鳥紋提出了一些新的想法,現(xiàn)將本文結(jié)論總結(jié)如下： 一、從商代青銅器紋飾本身出發(fā),從對(duì)稱性、鳥紋本身和主題花紋與輔助花紋三個(gè)方面入手,并以甲骨文材料、陶文材料、傳世文獻(xiàn)及其相關(guān)神話傳說(shuō)作為旁證,較為充分地證明了商代青銅器上一些具有鳥首和鳥身的饕餮紋,實(shí)為抽象的鳥紋。 二、對(duì)商周青銅器上鳳鳥紋分期分型的再探討,試將商周時(shí)期的鳳鳥紋分為五期18型,通過(guò)重新分期,試圖建立一套以鳳鳥紋為參照的更為完整的分期斷代標(biāo)準(zhǔn)。 三、通過(guò)從新對(duì)商代青銅器上饔餮紋的分型解讀,把原來(lái)學(xué)者們認(rèn)為商代青銅器上出現(xiàn)鳳鳥紋的時(shí)間向上推至商代早期和中期,而不是傳統(tǒng)上認(rèn)為的商代晚期。并對(duì)商周青銅器上鳳鳥紋的源流及演變進(jìn)行探討。 四、通過(guò)比較湖北盤龍城、新干大洋洲、三星堆、湖南地區(qū)等青銅器鳳鳥紋裝飾,探討商周青銅器上鳳鳥紋的內(nèi)涵以及對(duì)商周社會(huì)的影響,認(rèn)為鳳鳥紋的內(nèi)涵應(yīng)為圖騰象征,它作為同一裝飾紋樣,成為商周各地區(qū)政治文化認(rèn)同的紐帶。 五、利用相關(guān)文獻(xiàn)及其考古材料,以鳳鳥紋這一圖騰因素作為旁證,從鳳鳥紋的角度探索商族的起源問(wèn)題。認(rèn)為先商文化與以岳石文化為代表的東夷文化應(yīng)該有所聯(lián)系,在先商文化的研究上應(yīng)該考慮東方的文化因素。
[Abstract]:Phoenix pattern is a very important pattern of decorative art in ancient China. Numerous documents and historical data show that the totem of Shang nationality is a bird, and the origin of the ancestors of the Western Zhou Dynasty is protected by birds. This information is not only for the study of ancient art history. Dating by stages is of great significance. It also provides an important clue for opening the door to the spiritual world of people in the Shang and Zhou dynasties, finding the basis for studying the ideology of the society at that time, and at the same time, It also increases the significance of this special pattern in the study of bronze ornaments in Shang and Zhou dynasties. This paper will use the methods of graphics, archeology and art archaeology to collect and sort out the data of the ornaments on bronze ware in Shang and Zhou dynasties, and to find out the clues about the Phoenix and bird patterns, starting from a new point of view. In order to provide a new idea for studying the social culture and religious belief of Shang and Zhou dynasties, this paper re-interprets the related problems of glutton grain in Shang Dynasty and Phoenix-bird pattern in Shang and Zhou dynasties, such as the shape, type, source, development, evolution, connotation and so on. By combing the archaeological materials, ancient writing materials and literature materials and using some knowledge of image science, this paper puts forward some new ideas on the Phoenix and bird patterns of bronze ornaments in this period. The conclusions of this paper are summarized as follows: first, the conclusion of this paper is as follows: 1. Starting from the bronze ornaments of the Shang Dynasty, starting from three aspects: symmetry, bird pattern itself, theme pattern and auxiliary pattern, and based on oracle bone material, pottery material, ancient literature and related myths and legends, It is proved that some gluttonous grain with bird head and bird body on bronze ware of Shang Dynasty is abstract bird grain. Second, on the stage classification of the Phoenix pattern on bronze ware in Shang and Zhou dynasties, this paper attempts to divide the Phoenix pattern in Shang and Zhou dynasties into five stages and 18 types. By re-staging, we try to establish a set of more complete criteria for staging and dating based on the Phoenix pattern. Third, through the classification and interpretation of the bronze grain on the bronze ware of the Shang Dynasty, the original scholars think that the time of the occurrence of the Phoenix pattern on the bronze ware of the Shang Dynasty was pushed up to the early and middle stages of the Shang Dynasty, rather than the late Shang Dynasty, which is traditionally thought to be the end of the Shang Dynasty. The origin and evolution of the Phoenix pattern on bronze ware in Shang and Zhou dynasties were also discussed. Fourthly, by comparing the decoration of Bronze Phoenix pattern in Panlong City, Xingan Oceania, Sanxingdui and Hunan Province, this paper discusses the connotation of Phoenix pattern on Bronze ware in Shang and Zhou dynasties and its influence on the society of Shang and Zhou dynasties, and thinks that the connotation of Phoenix pattern should be a totem symbol. As the same decorative pattern, it became the link of political and cultural identity in various regions of Shang and Zhou dynasties. Fifthly, the origin of Shang nationality is explored from the angle of Phoenix pattern by using the relevant literature and archaeological materials, and taking the totem factor of Phoenix pattern as a side evidence. It is believed that the culture of pre-Shang and Dongyi culture represented by Yueshi culture should be related, and the cultural factors of the East should be taken into account in the study of pre-Shang culture.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：K876.41

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王軍;鳥符號(hào)在中國(guó)繪畫史中的演變研究[D];南昌大學(xué);2012年

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本文編號(hào)：2451508