半山馬廠彩陶蛙人紋藝術(shù)研究.pdf

1、汕頭大學(xué)碩士學(xué)位論文 半山馬廠彩陶蛙人紋藝術(shù)研究 I 摘 要 原始彩陶藝術(shù)是人類史前藝術(shù)的重要組成部分，它的出現(xiàn)是原始社會(huì)的人們幾千年物質(zhì)生活和精神生活的結(jié)晶，為我們了解文字產(chǎn)生之前的社會(huì)提供了重要的實(shí)物資料。馬家窯文化是原始彩陶藝術(shù)最繁盛的時(shí)期，可以分為馬家窯、半山、馬廠三個(gè)時(shí)期，其中的半山、馬廠時(shí)期也被稱為半山馬廠文化，當(dāng)時(shí)

2、已進(jìn)入原始社會(huì)后期，蛙人紋是這一時(shí)期出土較多的彩陶紋飾之一，這一紋飾既具有像征性，又具有神秘性，正是彩陶文化末期和青銅時(shí)代將要到來時(shí)期的美學(xué)特征的體現(xiàn)。本文在全面分析半山、馬廠彩陶蛙人紋的基礎(chǔ)上對(duì)蛙人紋進(jìn)行較細(xì)致的分類，并勾勒出基本的發(fā)展演變圖。結(jié)合半山、馬廠時(shí)期原始先民的生活，分析蛙人紋的產(chǎn)生、發(fā)展、形象內(nèi)涵及藝術(shù)特征。 本文運(yùn)用嚴(yán)謹(jǐn)?shù)臍v史學(xué)資料收集和整理的方法，力求在堅(jiān)實(shí)可靠的資料依據(jù)基礎(chǔ)上進(jìn)行美術(shù)學(xué)的分析和研究；采用實(shí)地考察與文獻(xiàn)

3、研究相結(jié)合的方法，在考察過程中揣摩、理解文獻(xiàn)材料；同時(shí)還采用類型學(xué)的方法，在對(duì)半山馬廠彩陶蛙人紋進(jìn)行細(xì)致分類的基礎(chǔ)上研究它的藝術(shù)源流、文化內(nèi)涵以及藝術(shù)特征。 經(jīng)過以圖像譜系為基礎(chǔ)的分析，半山馬廠彩陶蛙人紋根據(jù)類型可分為頭與四肢俱在的蛙人紋、只有頭部和上肢的蛙人紋、省略頭部只保留四肢的蛙人紋和折肢蛙人紋四類；根據(jù)形象可分為與蛙有關(guān)的蛙人紋、與人有關(guān)的蛙人紋、與蜥蜴有關(guān)的蛙人紋、與符號(hào)有關(guān)的蛙人紋、與圓圈紋組合的蛙人紋、與葫蘆紋組合的蛙人紋

4、、與水紋組合的蛙人紋、與點(diǎn)狀紋飾組合的蛙人紋和與蝌蚪有關(guān)的蛙人紋 9 類。 其產(chǎn)生是紋飾夸張、 變形、 組合的結(jié)果。早期多頭與四肢俱在的樣式，中期多只有頭部和上肢或省略頭部只保留四肢的樣式，晚期多折肢紋樣式，其發(fā)展具有連續(xù)性、變化性、地域性和時(shí)代性等特點(diǎn)。由于折肢紋樣式的多樣性，半山馬廠文化之后的蛙紋、折線紋、回紋、卐字符號(hào)等都有可能和蛙人紋有關(guān)。蛙人紋與原始人的生活環(huán)境有著密切關(guān)系，并且體現(xiàn)了生殖崇拜、祖先崇拜、日月崇拜等多種崇拜形式

5、， 可能還與原始?xì)v法有著一定的關(guān)系， 有些紋飾體現(xiàn)出了對(duì)原始文字的探索。半山馬廠彩陶蛙人紋既具有表象性又具有表意性。構(gòu)圖上與器型緊密結(jié)合，講究和諧、對(duì)稱、工整，采用自由的散點(diǎn)透視法，線條形式豐富，色彩運(yùn)用簡(jiǎn)單，總體來說具有圖案性的效果。蛙人紋具有獨(dú)特的地域性和時(shí)代性特征，同時(shí)也和其它原始彩陶紋飾一樣是一種“有意味的形式” 。 關(guān)鍵詞 蛙人紋；文化內(nèi)涵；藝術(shù)源流；藝術(shù)特征汕頭大學(xué)碩士學(xué)位論文

6、 半山馬廠彩陶蛙人紋藝術(shù)研究 III Abstract The ancient painted pottery art is an important part of Prehistoric Art of human being. It?s the harvest of the primitive people?s material life and spiritual lif

7、e in several thousands years. It?s the important material for us to understand the society before character coming into being. The Majiayao Culture is the most flourish time for the ancient painted pottery, and it can be

8、 divided into the Majiayao period, the Panshan period and the Machang period. The Panshan period and the Machang period can be also called the Panshan and Machang Culture. It?s one of the last cultures in the primitive s

9、ociety. The Waren pattern is one of the most popular pictures in the Panshan and Machang Culture. It has symbolism and mysteriousness which reflect the esthetics feature of the end of the ancient painted pottery culture

10、and the time before the Bronze Age. The purpose of the paper is to classify the Waren pattern on the basis of comprehensive analysis and to outline its development processs. The paper will analyze the Waren patterns? for

11、mation, development, connotation and art feature in a comprehensive and detailed way. The paper adopts the historical research method and the fine arts mimic method, collecting and arranging historical material，and analy

12、zing it from the perspective of fine arts. It adopts the field survey method and document research method, understanding document data in the survey process. Furthermore, it adopts typology method, analyzing the origin,

13、connotation and art style of the Waren patterns on the basis of classifying it in detail. The Waren patterns can be divided into four types on the analyses on the images pedigree. They are the Waren patterns with the hea

14、d and limbs, with the head and arms only, without head, and with a part of limbs. And it also can be divided into another nine types. They are the Waren patterns with relation to frogs, with relation to human being, with

15、 relation to lizards, with relation to symbols, together with circle patterns, together with gourds patterns, together with particle patterns, with relation to the water, and with relation to tadpoles. The appearance of

16、the Waren patterns is a result of transmuting and assembling of the ancient painted pottery pictures. Most of the early Waren patterns are the type with the head and limbs. Most of the mid Waren patterns are the type wit