本文選題：花山巖畫(huà) + 原始藝術(shù)��； 參考：《廣西師范大學(xué)》2017年碩士論文

【摘要】：左江流域陡峭的崖壁上,壯族先民繪制了人物、動(dòng)物、器物等眾多形象,反映了壯族先民的生存狀態(tài)、生存方式和原始的精神信仰系統(tǒng),展現(xiàn)了原始藝術(shù)質(zhì)樸、奔放的風(fēng)格和原始、野性的生命張力。其中以寧明縣花山巖畫(huà)為代表,花山巖畫(huà)規(guī)模宏大、圖像最多、種類(lèi)最多、分布最密、保存最完整,是左江流域巖畫(huà)群的代表,也是我國(guó)迄今發(fā)現(xiàn)的規(guī)模最大的巖畫(huà),為世界罕見(jiàn)。本文的邏輯起點(diǎn)在于花山巖畫(huà)的原始藝術(shù)定位,圍繞其藝術(shù)性質(zhì)闡發(fā)花山巖畫(huà)區(qū)別于現(xiàn)代藝術(shù)的原始藝術(shù)特點(diǎn)、形式構(gòu)成特點(diǎn)、造型特點(diǎn),以及對(duì)花山巖畫(huà)發(fā)生的自然環(huán)境、族群身份、文化背景、原始思維、原始審美意識(shí)的探究。本文一共分為六部分,其中第一部分為緒論對(duì)研究的背景及研究源起、目的意義做了論述。第二部分探討的是花山巖畫(huà)的原始藝術(shù)性質(zhì)。花山巖畫(huà)地處偏遠(yuǎn)的嶺南地區(qū),形成了左江流域相對(duì)閉塞的發(fā)展?fàn)顟B(tài)。這種特殊的“時(shí)差”導(dǎo)致左江流域還處在相對(duì)“刀耕火種”的原始藝術(shù)時(shí)期,其藝術(shù)的形式具有藝術(shù)前發(fā)展階段粗糙、稚嫩、自然奔放的特征和前藝術(shù)性質(zhì)。花山巖畫(huà)作為藝術(shù)轉(zhuǎn)型時(shí)期的原始藝術(shù),其創(chuàng)作的動(dòng)機(jī)、目的、審美觀念及標(biāo)準(zhǔn)有別于今天的藝術(shù)體系,有著自身的藝術(shù)因子以及一套思維方式和表現(xiàn)形式。同時(shí),有關(guān)駱越部族的史料記載、大石鏟遺址、銅鼓的考古發(fā)現(xiàn)與花山巖畫(huà)之間做了相互印證:花山巖畫(huà)與駱越文化、銅鼓文化有著必然的聯(lián)系,是稻作文明的產(chǎn)物。第三部分集中討論花山巖畫(huà)的藝術(shù)構(gòu)成及特征�；ㄉ綆r畫(huà)多達(dá)上千個(gè)人物、畜類(lèi)、物器的圖像均采用粗線條、輪廓式的涂抹方法繪制,用色采用赭紅色,千篇一律的構(gòu)圖,通過(guò)不斷重復(fù)同一的、統(tǒng)一的動(dòng)作、重復(fù)的儀式來(lái)祈求神靈庇佑。同時(shí),花山巖畫(huà)具象與抽象相結(jié)合的造影方式、重復(fù)的造型方法使得“蹲踞式人型”作為一種民族的原型保留在駱越人的記憶中,具有原型意義。最后,花山巖畫(huà)包含著濃郁的文化意味�；ㄉ綆r畫(huà)所反映的是原始宗教儀式的場(chǎng)景。更展現(xiàn)了駱越人廣闊的社會(huì)生活,記錄了駱越人獨(dú)特的民族風(fēng)貌。第四部分探討花山巖畫(huà)藝術(shù)發(fā)生的原始思維及心理基因�；ㄉ綆r畫(huà)的發(fā)生是以駱越人原始思維方式為基礎(chǔ),融合了駱越人的原始信仰以及影子與靈魂崇拜、圖騰崇拜與自然崇拜、祖先崇拜,其中飽含了駱越人審美意識(shí)的萌發(fā)和對(duì)美的早期認(rèn)識(shí)。花山巖畫(huà)以人為繪制重點(diǎn),以碩大高聳的人物形象顯示駱越先民的主體力量,以人為本的審美意識(shí)的萌發(fā),對(duì)于再現(xiàn)了一個(gè)飽滿壯實(shí)、充滿生機(jī)和活力的駱越先民的形象具有重要的意義。同時(shí),整個(gè)巖畫(huà)采用混沌統(tǒng)一的表現(xiàn)方式,對(duì)于那些能夠代表人物身份的器物、飾品等進(jìn)行了比人的面部表情、五官等等更為細(xì)致的、突出的描繪,放大能夠體現(xiàn)主體特征的方面,這種簡(jiǎn)化和放大相結(jié)合、混沌統(tǒng)一的方式突出顯示了駱越先民辯證審美意識(shí)的原始感悟。第五部分,探究花山巖畫(huà)的價(jià)值意義。僅僅站在今人的視角,用“他者”的眼光來(lái)關(guān)照原始藝術(shù)顯然是不足和不夠的�；ㄉ綆r畫(huà)是以整個(gè)駱越文化的重要組成部分,民俗、民族文化意義不言而喻,被世界公認(rèn)為壯族先民的寶貴藝術(shù)作品和文化遺產(chǎn),理所當(dāng)然地具有文化遺產(chǎn)保護(hù)價(jià)值。此外,花山巖畫(huà)推動(dòng)廣西當(dāng)代文學(xué)藝術(shù)發(fā)展,它對(duì)民族民間文學(xué)創(chuàng)作母題、表達(dá)方式等等都產(chǎn)生了深刻的影響,作為學(xué)術(shù)會(huì)議的號(hào)召力量,其形成的聚力和動(dòng)員意義也不容小覷,直接影響著“文學(xué)桂軍”的崛起。第六部分為結(jié)語(yǔ)。
[Abstract]:On the steep cliff wall of the Zuo River Basin, the ancestors of the Zhuang nationality drew many images, such as characters, animals, and utensils, reflecting the survival state of the ancestors of the Zhuang nationality, the way of existence and the original spiritual belief system, showing the primitive art, unrestrained style and primitive style, and the wild life force. Among them, Huashan rock painting in Ningming County, represented by Huashan rock painting, was the representative of Huashan rock painting. It is the representative of the rock painting group in the left River Basin, which is the largest rock painting in the left River Basin. It is also rare in the world. The logical starting point of this article lies in the original art orientation of Huashan rock painting, and elucidates the original art of Huashan rock painting, which is different from the modern art. The characteristics, form characteristics, modeling characteristics, and the natural environment, ethnic identity, cultural background, primitive thinking, and original aesthetic consciousness of the flower mountain rock painting. This article is divided into six parts. The first part is the introduction to the background of the study, the origin of the research, the purpose and significance. The second part discusses the flower mountain rock. The original artistic nature of the painting. Huashan rock painting is located in the remote south of the Five Ridges area, forming a relatively closed development state of the left River Basin. This special "time difference" leads to the left River Basin still in the original art period of relative "slash and burn", and its artistic form has the characteristics of rough, tender and natural and unrestrained in the stage of art development. As the original art of art, Huashan rock painting, as the original art in the period of the transformation of art, is different from today's art system, with its motive, purpose, aesthetic concept and standard. It has its own artistic factors and a set of thinking and expression forms. At the same time, the historical records of the Locke and the Yue and the archaeological discoveries and flowers of the bronze drum The paintings of mountain and rock have been confirmed by each other: Huashan rock painting has an inevitable connection with the culture of Luo Yue and the culture of the bronze drum. The third part focuses on the artistic composition and characteristics of Huashan rock painting. With the ochre red and the uniform composition, by repeating the same, unified action and repeated ceremonies to pray for God's blessing. At the same time, the flower mountain rock paintings have a combination of images and abstractions, and the repetition of the modeling method makes the "squatting type" as a national prototype retained in the memory of the Luo Yue people and has a prototype meaning. Finally, Huashan rock painting contains a strong cultural meaning. The flower mountain rock painting reflects the scene of the primitive religious ceremony. It also shows the vast social life of the Luo Yue people and records the unique national features of the Luo Yue people. The fourth part discusses the primitive thinking and psychological genes of the art of Huashan rock painting. The occurrence of Huashan rock painting is the Luo Yue people. Based on the original thinking mode, the original belief, the shadow and the soul worship, the totem worship and the nature worship, and the ancestor worship are filled with the germination of the aesthetic consciousness and the early understanding of the beauty. The germination of the people's aesthetic consciousness is of great significance to the reproduction of the image of the ancestors who are full of vitality, full of vitality and vitality. At the same time, the whole rock painting adopts a chaotic and unified way of expression, which is more detailed for the objects which can represent the identity of the characters, the ornaments and so on. In the fifth part, the value meaning of Huashan rock painting is explored. It is not enough. Huashan rock painting is an important part of the whole culture of Luo Yue, folk custom, national cultural significance is self-evident, the world recognized as the precious art works and cultural heritage of the ancestors of the Zhuang people, and of course, it has the protection value of cultural heritage. In addition, the flower mountain and rock paintings promote the development of contemporary literature and art in Guangxi, it is to the people. The theme of the folk literary creation, the way of expression and so on have had a profound influence. As the call force of the academic conference, the cohesion and mobilizing significance of its formation can not be underestimated, which directly affects the rise of the "literary cinnamon army". The sixth part is the conclusion.

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J205

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