古樓蘭鄯善藝術史論
發(fā)布時間：2018-08-08 15:19
【摘要】： 本文以樓蘭鄯善為中心，對該地區(qū)自遠古至公元5世紀這一漫長歷史時期所出現(xiàn)的主要的藝術作品和藝術現(xiàn)象進行了粗略地考察與綜述。筆者以考古發(fā)現(xiàn)的材料和歷史文獻及前人研究的成果為依據(jù)，從藝術學和圖像學的角度，對這一時期樓蘭鄯善藝術作了概念性地時代劃分，并對不同類型的藝術作品進行了大體排序和簡要考釋，所涉及的藝術類型包括石器、陶器、巖畫、木雕、織物、銅器、漆器、建筑、繪畫、雕塑、書法等。通過對這些藝術品及圖像的具體把握和認識，在盡可能地吸收目前國內外民族學、歷史學和考古學、藝術學的相關研究成果的基礎上，對樓蘭鄯善藝術的發(fā)展狀況、社會背景、風格特征、文化源流及學術價值作了以下初步探討和論證： (一)根據(jù)文獻和考古材料以及樓蘭鄯善藝術自身發(fā)展的狀況，結合藝術學和年代學的研究方法，初步對樓蘭鄯善藝術作了時代劃分，將其分為萌芽時期、融匯時期和昌盛時期三個不同的發(fā)展階段，在這三個不同的藝術時期都存在著不同的主流藝術形式，而在三個時期相互之間其藝術存在著即有風格差異又有內在聯(lián)系的辯證關系。 (二)從藝術圖像研究入手，初步建立了框架式的樓蘭鄯善藝術譜系。相對于目前樓蘭鄯善藝術研究材料較為分散、駁雜無序的狀況，筆者在國內外許多相關著作中收集到數(shù)千幅該地區(qū)藝術文物圖像資料，并從中擇選較為經典的圖像400余幅進行了逐一考釋和分類排序，，從而以實證的方式歸納出樓蘭鄯善造型藝術的基本面貌。 (三)通過研究，筆者認為樓蘭鄯善藝術是東西方及本土藝術相互交融的產物，蘊藏在樓蘭鄯善藝術中的不同文化因素是極其豐富的，它反映了該地區(qū)藝術的多元文化本質，這不僅是樓蘭鄯善藝術發(fā)展的內在基因，同時也應該看作是中華民族藝術史中的一個極為寶貴的文化傳統(tǒng)。 (四)依筆者的觀點來看，歷史上一切發(fā)生在樓蘭鄯善地區(qū)的藝術現(xiàn)象都應被看作是中華民族藝術發(fā)展史的一個有機環(huán)節(jié)，不僅如此，樓蘭鄯善藝術曾對東西方藝術的發(fā)展產生過極為重要的影響，該地區(qū)出現(xiàn)的一些主要的藝術流派和藝術形式，都曾為中國藝術的創(chuàng)新提供了重要的借鑒，在某些方面甚至改變了傳統(tǒng)藝術中的一些表現(xiàn)方式。同時中原藝術亦通過樓蘭鄯善而對西方世界產生了相應的影響。諸如此類問題，筆者在對樓蘭鄯善藝術的具體研究中初步提出了一些尚不成熟的觀點和看法。
[Abstract]:Taking Loulan Shanshan as the center, this paper makes a rough survey and summary of the main works of art and the phenomena of art in the long historical period from the ancient times to the 5th century AD in this area. Based on the materials and historical documents of archaeological discoveries and the achievements of previous studies, the author classifies the art of Loulan and Shanshan in this period from the angles of art and graphics. And the different types of art works are generally sorted and briefly studied, including stone tools, pottery, rock painting, wood carving, fabric, bronze, lacquer, architecture, painting, sculpture, calligraphy, and so on. Through the concrete understanding of these works of art and images, and on the basis of absorbing as much as possible the relevant research achievements of ethnology, history, archaeology and art at home and abroad, the development and social background of the art of Loulan Shanshan are discussed. Style features, The origin and academic value of culture are discussed and demonstrated as follows: (1) according to the literature and archaeological materials and the development of Loulan Shanshan art itself, Combined with the research methods of art and chronology, the art of Loulan Shanshan is divided into three stages: the budding period, the fusion period and the prosperous period. In these three different artistic periods, there are different mainstream art forms, and in the three periods, there is a dialectical relationship between the art of each other, which is not only different in style but also related to each other. (2) based on the study of art images, the frame-type Loulan-Shanshan art pedigree is established. Compared with the present situation that the art research materials of Loulan and Shanshan are scattered and disordered, the author has collected thousands of images of the art relics in this area in many related works at home and abroad. More than 400 classical images are selected from them, one by one, and classified and sorted, thus the basic features of plastic arts in Loulan Shanshan are summed up in an empirical way. (3) through the research, the author thinks that the art of Loulan Shanshan is the product of the blending of East and West and native art, and the different cultural factors are extremely rich in the art of Loulan Shanshan, which reflects the multicultural essence of the art in this area. This is not only the inherent gene of the artistic development of Loulan Shanshan, but also a precious cultural tradition in the history of Chinese art. (4) from the point of view of the author, all the artistic phenomena that have occurred in Loulan and Shanshan areas in history should be regarded as an organic link in the history of the development of the Chinese nation's art. The art of Loulan and Shanshan once had an extremely important influence on the development of eastern and western art. Some major art schools and art forms appeared in this area, all of which provided important reference for the innovation of Chinese art. In some ways it has even changed some of the ways of expression in traditional art. At the same time, the art of Central Plains exerts a corresponding influence on the western world through Loulan Shanshan. The author puts forward some immature views in the study of the art of Loulan Shanshan.
【學位授予單位】：西北大學
【學位級別】：博士
【學位授予年份】：2003
【分類號】：J120.9
本文編號：2172189
[Abstract]:Taking Loulan Shanshan as the center, this paper makes a rough survey and summary of the main works of art and the phenomena of art in the long historical period from the ancient times to the 5th century AD in this area. Based on the materials and historical documents of archaeological discoveries and the achievements of previous studies, the author classifies the art of Loulan and Shanshan in this period from the angles of art and graphics. And the different types of art works are generally sorted and briefly studied, including stone tools, pottery, rock painting, wood carving, fabric, bronze, lacquer, architecture, painting, sculpture, calligraphy, and so on. Through the concrete understanding of these works of art and images, and on the basis of absorbing as much as possible the relevant research achievements of ethnology, history, archaeology and art at home and abroad, the development and social background of the art of Loulan Shanshan are discussed. Style features, The origin and academic value of culture are discussed and demonstrated as follows: (1) according to the literature and archaeological materials and the development of Loulan Shanshan art itself, Combined with the research methods of art and chronology, the art of Loulan Shanshan is divided into three stages: the budding period, the fusion period and the prosperous period. In these three different artistic periods, there are different mainstream art forms, and in the three periods, there is a dialectical relationship between the art of each other, which is not only different in style but also related to each other. (2) based on the study of art images, the frame-type Loulan-Shanshan art pedigree is established. Compared with the present situation that the art research materials of Loulan and Shanshan are scattered and disordered, the author has collected thousands of images of the art relics in this area in many related works at home and abroad. More than 400 classical images are selected from them, one by one, and classified and sorted, thus the basic features of plastic arts in Loulan Shanshan are summed up in an empirical way. (3) through the research, the author thinks that the art of Loulan Shanshan is the product of the blending of East and West and native art, and the different cultural factors are extremely rich in the art of Loulan Shanshan, which reflects the multicultural essence of the art in this area. This is not only the inherent gene of the artistic development of Loulan Shanshan, but also a precious cultural tradition in the history of Chinese art. (4) from the point of view of the author, all the artistic phenomena that have occurred in Loulan and Shanshan areas in history should be regarded as an organic link in the history of the development of the Chinese nation's art. The art of Loulan and Shanshan once had an extremely important influence on the development of eastern and western art. Some major art schools and art forms appeared in this area, all of which provided important reference for the innovation of Chinese art. In some ways it has even changed some of the ways of expression in traditional art. At the same time, the art of Central Plains exerts a corresponding influence on the western world through Loulan Shanshan. The author puts forward some immature views in the study of the art of Loulan Shanshan.
【學位授予單位】：西北大學
【學位級別】：博士
【學位授予年份】：2003
【分類號】：J120.9
【引證文獻】
相關期刊論文 前1條
1 吳宏岐;;新疆古代民族居住生活方式及其環(huán)境影響因素——以公元5-14世紀的吐魯番地區(qū)為中心[J];暨南史學;2005年00期
相關碩士學位論文 前1條
1 馬萬宏;20世紀西北地區(qū)古代中外工藝美術交流研究的回顧[D];西北師范大學;2010年
本文編號：2172189
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