漢代瓦當(dāng)?shù)膶徝姥芯?/H1>

發(fā)布時(shí)間：2018-08-17 11:25

【摘要】：瓦當(dāng)?shù)膶?shí)物最早見(jiàn)于西周中晚期陜西扶風(fēng)召陳遺址,從考古資料看,漢代瓦當(dāng)出土數(shù)量最多,形式最為豐富,工藝質(zhì)量最高,是我國(guó)古代瓦當(dāng)藝術(shù)中獨(dú)一無(wú)二的珍品。漢代瓦當(dāng)主要出土于陜西、河南和山東三省,其中陜西西安一帶最多,來(lái)自于建筑遺址、燒窯、灰坑及墓葬中,其最珍貴之處是它把實(shí)用與審美,功能與裝飾完美地統(tǒng)一 在全面搜集漢代瓦當(dāng)相關(guān)研究資料及歷史文獻(xiàn)的基礎(chǔ)上,本文運(yùn)用歷史分析和文獻(xiàn)研究相結(jié)合、理論分析與個(gè)案研究相結(jié)合、歷史資料與實(shí)物圖案相結(jié)合及田野調(diào)查的方法,對(duì)漢代不同時(shí)期的瓦當(dāng)圖案,作社會(huì)時(shí)代背景和歷史審美意識(shí)的研究。經(jīng)過(guò)對(duì)漢代瓦當(dāng)這一具體可感的藝術(shù)表現(xiàn)形式的歷史語(yǔ)境的還原性分析,以及其所函蘊(yùn)的社會(huì)審美文化及歷史審美意識(shí)嬗變軌跡的理論性描述,可以知曉的是：漢代瓦當(dāng)不僅具有歷史考古的社會(huì)價(jià)值意義,亦具有審美的價(jià)值意義,而后者正是為學(xué)界所未重視的問(wèn)題,而此正是本文的研究課題。漢代瓦當(dāng)作為漢文化的一有機(jī)組成部分,它對(duì)之后的建筑文化、雕刻文化、書(shū)法文化等領(lǐng)域產(chǎn)生了深遠(yuǎn)的影響。 本文在敘述說(shuō)明學(xué)術(shù)界關(guān)于漢代瓦當(dāng)?shù)难芯楷F(xiàn)狀及研究此課題的學(xué)術(shù)價(jià)值意義的基礎(chǔ)上,主要討論了如下四個(gè)主要問(wèn)題： 第一部分,主要討論漢前瓦當(dāng)與審美意識(shí),漢前的瓦、古代建筑、陶器、青銅器與瓦當(dāng),以及先秦至秦朝瓦當(dāng)與審美文化研究之間的關(guān)系,并依此而進(jìn)一步地探索瓦當(dāng)?shù)膶徝酪庾R(shí)與社會(huì)歷史文化之間的內(nèi)在關(guān)系。 第二部分,從漢代瓦當(dāng)與所處時(shí)代文化,尤其是儒家思想之間的相互關(guān)系以及其發(fā)展與演變,來(lái)審視瓦當(dāng)?shù)脑煨�、形式、紋飾等審美意象。并依此探索性地說(shuō)明瓦當(dāng)是實(shí)用性與審美性合為一體的典型表現(xiàn)形式。 第三部分,主要探討漢代瓦當(dāng)?shù)膱D案紋、圖像紋所函蘊(yùn)的審美意義。就圖案紋而言,其審美意義主要體現(xiàn)為自然崇拜,就圖像紋而言,其審美意義則主要體現(xiàn)為圖騰崇拜。 第四部分,系統(tǒng)性地討論漢代各種文字瓦當(dāng)所函蘊(yùn)的一系列審美意識(shí)。并探索性地說(shuō)明這一時(shí)期的瓦當(dāng)在一定程度上是王權(quán)崇拜的一種特殊表現(xiàn)形式。 依上探索,論文最后從審美文化的視域進(jìn)一步比較明確地說(shuō)明漢代瓦當(dāng)是實(shí)用性與審美性合為一體的工藝性作品,與此同時(shí),對(duì)漢代瓦當(dāng)?shù)难芯壳熬白髁朔较蛐缘恼雇��?br/>[Abstract]:The object of Wadang was first found in the late Western Zhou Dynasty Shaanxi Fufeng Zaochen site. From the archaeological data, the Han Dynasty Wadang unearthed the largest number, the most abundant form, the highest technological quality, is our country ancient Wadang art unique treasures. In the Han Dynasty, Wadang was mainly unearthed in Shaanxi, Henan and Shandong provinces, of which Xi'an, Shaanxi Province, was the largest in the area. It came from architectural sites, kilns, ash pits and tombs. Its most precious place was its utility and aesthetic appreciation. Function and decoration are perfectly unified on the basis of collecting relevant research materials and historical documents of the Han Dynasty, this paper combines historical analysis with literature research, theoretical analysis and case study. Combining the historical data with the object pattern and the method of field investigation, this paper makes a study on the background of the society and the historical aesthetic consciousness of the Wadang pattern in different periods of the Han Dynasty. Through the analysis of the historical context of Wadang, a concrete and perceptible form of artistic expression in the Han Dynasty, as well as the theoretical description of the evolution of social aesthetic culture and historical aesthetic consciousness, What we can know is that Wadang in Han Dynasty not only has the social value meaning of historical archaeology, but also has the aesthetic value meaning, and the latter is the problem which has not been paid attention to by the academic circles, and this is the research topic of this paper. As an organic part of Han culture, Wadang in Han Dynasty had a profound influence on architectural culture, sculpture culture, calligraphy culture and so on. On the basis of describing the current research situation and the academic value significance of the research on Wadang in Han Dynasty, this paper mainly discusses the following four main problems: the first part, mainly discusses the pre-Han Wadang and aesthetic consciousness. The relationship between the pre-Han tile, ancient architecture, pottery, bronze ware and Wadang, as well as the study of Wadang and aesthetic culture from pre-Qin to Qin dynasties, and the internal relationship between Wadang's aesthetic consciousness and social, historical and cultural is further explored. The second part, from the Han Dynasty Wadang and the culture of the era, especially the Confucian thought of the relationship and its development and evolution, to examine the shape, form, decoration and other aesthetic images. And according to this exploratory explanation Wadang is a combination of practical and aesthetic as a typical form of expression. The third part, mainly discusses the Han Dynasty Wadang pattern, the image grain function connotation esthetic significance. As far as pattern is concerned, its aesthetic meaning is mainly reflected in nature worship, and in image pattern, its aesthetic meaning is mainly reflected in totem worship. The fourth part systematically discusses a series of aesthetic consciousness embodied in various characters of Han Dynasty. And explore this period of Wadang is to some extent a special form of Wang Quan worship. Finally, from the perspective of aesthetic culture, the thesis shows clearly that Wadang is a combination of practicality and aesthetics. At the same time, the research prospect of Wadang in Han Dynasty is prospected.
【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：J527;K876.3

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