發(fā)布時(shí)間：2018-09-04 07:58

【摘要】：崧澤之美主要指崧澤文化特別是崧澤文化晚期各類器物在形制、造型、裝飾、工藝、色彩和創(chuàng)意等方面獨(dú)特的物質(zhì)表征和審美旨趣。究其成因,一是生業(yè)進(jìn)步使審美創(chuàng)作具備了物質(zhì)基礎(chǔ)和閑暇時(shí)間;二是沒有強(qiáng)權(quán)壓制的神崇拜為藝術(shù)創(chuàng)作提供了自由信仰和獨(dú)立創(chuàng)意。崧澤文化神崇拜以陶器為主要載體,神的形象是看得見、摸得著的直觀物象;而良渚文化以琮、璧等玉器為主要載體,神的形象日益格式化和神秘化。環(huán)太湖地區(qū)龍首紋玉器的出現(xiàn),是神崇拜載體材質(zhì)由陶向玉轉(zhuǎn)換的標(biāo)志性事件,可視為劃分良渚文化與崧澤文化的重要標(biāo)尺和界緣。
[Abstract]:The beauty of Songze mainly refers to the unique material representation and aesthetic purport of various kinds of objects in shape, decoration, craft, color and creativity, especially in the late period of Songze culture. The reasons are: first, the progress of life and industry makes aesthetic creation have material foundation and leisure time; the other is that the worship of God, which is not suppressed by power, provides free faith and independent creativity for artistic creation. The worship of the god of Song Ze culture takes pottery as the main carrier and the image of the god is a visible and tangible visual object, while the Liangzhu culture takes cong, jade and other jade articles as the main carrier, and the image of the god is increasingly formatted and mysterious. The appearance of Longshou jade in the area around Taihu Lake is the symbolic event of transforming the material of god worship carrier from Tao to jade. It can be regarded as an important scale and boundary margin for dividing Liangzhu culture from Songze culture.
【作者單位】： 杭州良渚遺址管理區(qū)管理委員會(huì);
【分類號(hào)】：K871.13

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