【摘要】：阿瑪爾納藝術(shù)是埃赫那吞改革時(shí)期產(chǎn)生的新的藝術(shù)形式,對(duì)這一時(shí)期的藝術(shù)作品進(jìn)行研究,有助于我們加深對(duì)當(dāng)時(shí)歷史的理解。本文在寫作上從建筑、雕塑、繪畫等角度入手,搜集、整理了大量阿瑪爾納藝術(shù)作品,并將它們與埃赫那吞改革前后的藝術(shù)作品就內(nèi)容和表現(xiàn)形式進(jìn)行比較,總結(jié)出這一時(shí)期藝術(shù)風(fēng)格的特點(diǎn),力求揭示其反映的社會(huì)觀念以及所占據(jù)的獨(dú)特的歷史地位。全文包括緒論和正文共六個(gè)部分,總結(jié)如下： 緒論部分對(duì)阿瑪爾納藝術(shù)的概念進(jìn)行界定,闡述了本論題的研究意義,國內(nèi)外研究現(xiàn)狀和存在的問題與不足,以及應(yīng)用的主要研究方法,并列舉了主要的史料來源。 第一章介紹了阿瑪爾納藝術(shù)的產(chǎn)生。從歷史的原因和現(xiàn)實(shí)角度出發(fā)尋找其產(chǎn)生根源,得出這樣的結(jié)論：古代埃及專制統(tǒng)治的傳統(tǒng)和對(duì)于來世永恒生活的向往使阿瑪爾納藝術(shù)具備了固定法則。同時(shí)埃赫那吞改革直接導(dǎo)致了阿瑪爾納藝術(shù)的正式產(chǎn)生。這一章包含如下兩節(jié)：第一節(jié)論述阿瑪爾納藝術(shù)中傳統(tǒng)因素的形成和阿吞因素的出現(xiàn)。由于阿瑪爾納藝術(shù)是在埃赫那吞宗教改革直接推動(dòng)下產(chǎn)生的,所以太陽神阿吞的正式出現(xiàn)也就預(yù)示了阿瑪爾納藝術(shù)的開端。第二節(jié)論述阿瑪爾納藝術(shù)產(chǎn)生的時(shí)代背景。阿蒙神權(quán)對(duì)王權(quán)的挑戰(zhàn)、阿蒙霍特普三世反抗阿蒙神權(quán)的斗爭以及埃赫那吞的個(gè)人支持推動(dòng)了改革的產(chǎn)生和阿瑪爾納藝術(shù)的出現(xiàn)。埃赫那吞提倡描寫現(xiàn)實(shí),反對(duì)傳統(tǒng)模式,給藝術(shù)家們以充分的自由,允許他們打破陳規(guī),根據(jù)真實(shí)生活從事藝術(shù)創(chuàng)作,最終促使阿瑪爾納藝術(shù)產(chǎn)生。 第二章列舉阿瑪爾納時(shí)期典型的藝術(shù)作品并與之前的藝術(shù)作品加以比較,分析阿瑪爾納藝術(shù)不同于其他時(shí)期埃及藝術(shù)的特點(diǎn)。本章由兩節(jié)構(gòu)成。第一節(jié)從建筑、雕塑、繪畫三個(gè)角度來介紹阿瑪爾納時(shí)期的藝術(shù)成就。比較之前的同類作品,阿瑪爾納時(shí)期的這些作品呈現(xiàn)出不同的特點(diǎn)。第二節(jié)介紹了阿瑪爾納藝術(shù)的特征,阿瑪爾納藝術(shù)既是古埃及藝術(shù)傳統(tǒng)積淀的結(jié)果,又是埃赫那吞新時(shí)代改革的產(chǎn)物,因而兼有民族特征與時(shí)代特征雙重特性。這一節(jié)也有兩個(gè)部分：一、分析阿瑪爾納藝術(shù)的民族特征。作為伴隨改革產(chǎn)生的特殊藝術(shù)風(fēng)格,阿瑪爾納藝術(shù)并未完全摒棄其民族傳統(tǒng)。濃厚的民族風(fēng)格在阿瑪爾納藝術(shù)作品中有著明顯的體現(xiàn),成為阿瑪爾納藝術(shù)風(fēng)格中最為本質(zhì)的部分,正是這種民族特征使阿瑪爾納藝術(shù)成為古埃及藝術(shù)的杰出代表。二、分析阿瑪爾納藝術(shù)的時(shí)代特征,從內(nèi)容和表現(xiàn)形式上展開。高度的寫實(shí)與活潑的畫風(fēng)使古埃及藝術(shù)達(dá)到了前所未有的繁榮局面,客觀上使當(dāng)時(shí)的歷史得以如實(shí)體現(xiàn)。 第三章討論阿瑪爾納藝術(shù)反映的社會(huì)觀念問題,這一時(shí)期的古埃及社會(huì)觀念呈現(xiàn)新的特點(diǎn),主要體現(xiàn)在宗教觀和審美觀的變動(dòng)上。第一節(jié)論述阿瑪爾納藝術(shù)的宗教觀,主要從兩種角度來分析。一是王室宗教觀。體現(xiàn)在對(duì)阿吞神的一神專崇拜和對(duì)其他神的遺棄上,也體現(xiàn)了埃赫那吞重樹法老權(quán)威的愿望。二是貴族宗教觀。這一時(shí)期的貴族階層呈兩面倒的趨勢,部分新貴追隨法老,信仰阿吞一神教；而世襲貴族為了維護(hù)自身利益傾向于回歸傳統(tǒng)。三是民間信仰。這一時(shí)期民間依然流行多神崇拜,體現(xiàn)在發(fā)現(xiàn)的大量貝斯神的形象。另一方面民眾對(duì)官方宗教阿吞神的崇拜持漠視態(tài)度。第二節(jié)論述阿瑪爾納時(shí)代的審美觀,新的藝術(shù)形式的形成必然有新的審美觀念作指導(dǎo)。阿瑪爾納時(shí)期的古埃及社會(huì)審美觀念也有了巨大變化。不同的階層有不同的審美觀,阿瑪爾納時(shí)期古埃及的審美出現(xiàn)了新的趨向。一、官方審美從宗教儀式主義轉(zhuǎn)向了寫實(shí)主義,體現(xiàn)了法老的追求。二、而民間審美反應(yīng)比較遲鈍,阿瑪爾納城的居民可能對(duì)此比較敏感,而其他地方的居民普遍繼續(xù)追求儀式主義。 第四章介紹了阿瑪爾納藝術(shù)的歷史地位。阿瑪爾納藝術(shù)不僅在藝術(shù)史上地位突出,是埃及藝術(shù)高度繁榮時(shí)期的象征,而且還具有重要的歷史研究價(jià)值。本章分為兩部分,具體如下：一、介紹了阿瑪爾納藝術(shù)的時(shí)代意義。政治方面,阿瑪爾納藝術(shù)宣傳和擴(kuò)大了埃赫那吞改革的影響,并將埃赫那吞改革的精神傳遞到現(xiàn)在。宗教方面,體現(xiàn)為阿瑪爾納藝術(shù)作品全面呈現(xiàn)并宣揚(yáng)阿吞一神教觀念。同時(shí),阿瑪爾納藝術(shù)的時(shí)代意義還體現(xiàn)在對(duì)外交關(guān)系的促進(jìn)上。二、在藝術(shù)史上的地位。在埃及藝術(shù)發(fā)展史中,阿瑪爾納藝術(shù)起了承前啟后的作用。它不僅在根本上繼承了埃及藝術(shù)的傳統(tǒng)規(guī)則,而且加以突破發(fā)展,添入了新的元素,使古埃及藝術(shù)一度繁榮鼎盛。 結(jié)語對(duì)全文進(jìn)行了總結(jié)。本文的創(chuàng)新之處在于文章采用了從藝術(shù)史和社會(huì)史雙重角度對(duì)阿瑪爾納藝術(shù)進(jìn)行分析的方法。重點(diǎn)明確了阿吞神產(chǎn)生的過程,總結(jié)了阿瑪爾納藝術(shù)的特點(diǎn),并論述了阿瑪爾納藝術(shù)所反映的社會(huì)觀念。大量的資料解析證明,在阿瑪爾納時(shí)期不同階層的人對(duì)于阿吞崇拜和審美概念持有不同的觀點(diǎn)。而這種狀況之所以出現(xiàn),主要是由古埃及人的實(shí)用主義觀念至上決定的。對(duì)于古埃及人來說,自身利益高于一切,各種觀念都可以隨之而變。
[Abstract]:Amarna's art is a new form of art that is produced in the period of the reform of the Eech. The study of the works of art during this period will help us to deepen our understanding of the history. This paper, from the angle of architecture, sculpture, painting and so on, has collected and organized a lot of Armani works of art and compared them with the works of art before and after the reform of Ech's annexation, and summed up the characteristics of the artistic style during this period. It seeks to reveal the social concept and the unique historical position it occupies. The full text includes the introduction and the body of six parts, and the summary is as follows: The introduction part defines the concept of Amarna's art, expounds the research significance of this thesis, the present situation of the research and the existing problems and deficiencies both at home and abroad, and the main research of the application The main historical materials are listed in this paper. Source. Chapter I. Introduction to Amarna From the historical reasons and the realistic angle, the author finds out the origin of the art, and draws the conclusion that the tradition of the ancient Egyptian despotism and the longing for the eternal life of the world made the Armani art possess. A fixed rule. At the same time, Eech's reform directly led to Amarna's art. This chapter contains the following two sections: the first section deals with the formation of traditional factors in the Armani art and the swallow The appearance of factors, because of the direct drive of the Armani art in Eech's religious reform, the official appearance of the sun god's annexation also foreshadowed the Armani. The beginning of art. The second section discusses the art of Armani. The background of the time, the challenge of the right of Ammon to the power of the king, the struggle against the right of the Ammon and the personal support of Eech, and the generation of the reform and the Amarna's support. The emergence of art. Eech, which advocates the description of the reality, opposes the traditional pattern, gives the artists the full freedom, allows them to break the rules, engage in artistic creation according to the real life, and finally promote the Armani. The second chapter lists the typical works of art in the Armani era and compared it with the previous works of art. The analysis of the Armani art is different from others. The Characteristics of the Egyptian Art in the Period This chapter is composed of two sections. The first section introduces Armani from three angles of architecture, sculpture and painting. The artistic achievement of the period. The works of the same kind before the comparison, the works of the Amarna period. The second section introduces the characteristics of Amarna's art, and Amarna's art is not only the result of the traditional accumulation of ancient Egyptian art, but also the product of the reform of Ech's new era. The features of the times are double. This section also has two parts: one, the analysis of the Armani The national character of the art. As a special artistic style, the art of Amarna is not finished. It is the most essential part of the Armani artistic style, which is the most essential part of the Armani artistic style. and the outstanding representative of the art. II. Analyze the characteristics of the time of Amarna's art, from the content and in the form of expression, the high degree of the realistic and lively drawing of the painting brought the ancient Egyptian art to an unprecedented prosperity situation, which objectively made the time The third chapter discusses the social concept of Armani art, and the ancient Egyptian social concept of this period presents a new characteristic, which is mainly embodied in In the first section, the religious view of Amarna's art is discussed in section I. mainly from two angles The first is the view of the royal religion, which is embodied in the worship of the god of the god of the god and the abandonment of other gods. The authority of Pharaoh's pharaoh. The second is the nobleman's view of religion. The aristocracy of this period has a double-faced tendency, and some of the new ones followed Pharaoh's and the belief in the one-to-one religion; and the hereditary nobles were in order to maintain it. self-interest tends to Return to the tradition. The third is the folk belief. In this period, the folk still popular with the worship of the gods, which are reflected in The image of a great number of Beth-gods, on the other hand, on the official religion. In the second section, the aesthetic of the Armani era and the formation of the new art form will be discussed in section II. The ancient Egyptian society in the period of Amarna. The concept of aesthetic appreciation has also changed greatly. Different levels have different aesthetic and aesthetic values, and the time of Armani time is ancient. and the aesthetic appearance of the new trend. One, the official aesthetics turned from the religious ceremony to the realistic In the second place, the folk aesthetic response is relatively slow, and the inhabitants of the Armani city may be more sensitive to this, and the rest of the rest of the world The people generally continue to pursue the ritual. Chapter IV The article introduces the historical position of Amarna's art. The Armani art is not only a prominent place in the history of art, but also a symbol of the height and prosperity of the Egyptian art. It also has important historical research value. This chapter is divided into two parts, as follows:1. In this paper, the time significance of Amarna's art is introduced. In the aspect of politics, Amarna's art propaganda and the expansion of the influence of the Ech's annexation reform, and will The spirit of Eech's reform is transferred to the present. Religious aspects are reflected in the Armani works of art. All-round presentation and promotion of the concept of the one-to-one religion, and the time of Amarna's art. The meaning is also reflected in the diplomatic relations. To promote the status of... in the history of art. In the history of Egyptian art, Aah Mariner's art has played an important role in the past. It not only inherits the traditional rules of Egyptian art at all, but also breaks through the development and adds new elements. In that ancient Egyptian art. The paper summarizes the full text of the paper. The innovation of this paper is that the article has adopted from the history of art and the history of the society. The method of the analysis of Amarna's art is focused on the process of the generation of Agara, and the characteristics of Amarna's art are summarized, and the characteristics of Amarna's art are summarized. The social concept reflected by Amarna's art is discussed. A large number of data analysis has proved that people of different strata in the Amarna period were right Different views are held in the concept of the adduction and the aesthetic, and this is the case, mainly The idea of the pragmatism of the ancient Egyptians is supreme. For the ancient Egyptians, it is self-interest.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2011
【分類號(hào)】：K411

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 吳帥;田明;;世界宗教改革的先驅(qū)者——國內(nèi)埃赫那吞改革研究述評(píng)[J];內(nèi)蒙古民族大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2013年05期

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本文編號(hào)：2482198