南陽漢畫像石中陽烏與蟾蜍形象的共生關(guān)系研究
發(fā)布時(shí)間：2018-10-04 22:22
【摘要】：漢代人們留戀人世也渴望死后能繼續(xù)享受人間幸福,社會(huì)便盛行起了一股奢靡厚葬之風(fēng),同時(shí)各種思想與崇拜混雜,“靈魂不滅”信仰、“天人合一”的思想觀、漢代陰陽意識(shí)、讖緯神學(xué)觀和對(duì)日月神的崇拜等思想作為基點(diǎn),造就了漢畫像的輝煌。從遠(yuǎn)古的圖騰意識(shí),到楚地的生命崇拜,再到漢畫像藝術(shù)中博大精深的藝術(shù)形式,可清晰地看到整個(gè)鳥與蛙形象地演變與發(fā)展,而鳥與蛙形象衍生的日月共生思想早在陶器時(shí)代就已經(jīng)萌生,并運(yùn)用于藝術(shù)造型上。在漢畫像中,陽烏與蟾蜍以生動(dòng)的形象、成熟的線條展現(xiàn)了天界的日月表象。天象中的太陽和月亮與人類關(guān)系最為密切,人們對(duì)此充滿了臆想與情感,在太陽內(nèi)刻畫三條腿的金烏,月亮內(nèi)刻畫蟾蜍,在造型上不僅避免了日月形象的枯燥表達(dá),更是賦予日月生命的活力。同時(shí)日中陽烏與月中蟾蜍蘊(yùn)含著豐富的精神內(nèi)容和社會(huì)信息,日月在表達(dá)真實(shí)天象的同時(shí)更是人類臆想中助人升仙的工具。日月更替、生死循環(huán),古人在尋求一種和諧秩序,萬物陰陽共存,日月共生,萬事有始有終,世界便保持和諧狀態(tài)。本文首先以漢代天人合一、喪葬觀念等為思想背景,分析漢畫像中陽烏與蟾蜍的共生關(guān)系。其次比較不同歷史階段中陽烏與蟾蜍的形象嬗變,追溯中國(guó)祖先與動(dòng)物相互融洽、和諧共處的美妙與自然的狀態(tài)。再次,將南陽漢畫像中陽烏與蟾蜍形象與其他地區(qū)相比較,體會(huì)四大主要畫像石區(qū)域的獨(dú)到之處,突出南陽地區(qū)陽烏與蟾蜍共生形象的人文價(jià)值。最后,闡述南陽漢畫像中陽烏與蟾蜍共生形象的圖像意涵,深化對(duì)二者共生關(guān)系的研究。采用的方法即以漢代社會(huì)思想為背景,結(jié)合所搜集的文獻(xiàn),運(yùn)用圖像學(xué)的方法透過圖像的表面現(xiàn)象,研究陽烏與蟾蜍產(chǎn)生的時(shí)代特征和二者共生的藝術(shù)內(nèi)涵。探討陽烏與蟾蜍形象的產(chǎn)生、發(fā)展與二者之間的共生關(guān)系,以及南陽漢畫像中陽烏及蟾蜍形象所要表達(dá)的符號(hào)意義。本文的創(chuàng)新點(diǎn)在于將漢畫像中的陽烏與蟾蜍形象在墓室環(huán)境中不同的位置以及周圍裝飾探討二者共生關(guān)系內(nèi)涵,并比較與前代鳥與蛙形象的不同象征意義。
[Abstract]:In the Han Dynasty, people yearned for the world to continue to enjoy human happiness after death, and the society became popular with a extravagant style of burial. At the same time, all kinds of thoughts and adoration were mixed up, "the soul never died" belief, and "the unity of nature and man". The consciousness of yin and yang, theology of prophecy and worship of the sun and moon gods were the basis of the Han Dynasty, which created the brilliance of the portrait of Han Dynasty. From the ancient totem consciousness, to the worship of life in Chu, to the broad and profound art form of Han portrait art, we can clearly see the evolution and development of the image of the whole bird and frog. The idea of sun and moon symbiosis derived from the image of bird and frog had already sprouted in the pottery age and was applied to artistic modeling. In the portrait of the Han Dynasty, Yangwu and Toad display the sun and moon of the sky with vivid images and mature lines. The sun and moon in the sky are most closely related to human beings, and people are full of imagination and emotion. The depiction of the three-legged golden black in the sun and the toad in the moon not only avoids the dull expression of the image of the sun and the moon. Is to give the life of the sun and moon vitality. At the same time, there are abundant spiritual contents and social information in the sun, sun and the moon. The sun and moon not only express the real celestial phenomena, but also are the tools of human imagination to help people rise to the fairy. Sun and moon change, life and death cycle, the ancients in the search for a harmonious order, all coexistence of yin and yang, sun and moon symbiosis, everything has the beginning and end, the world will maintain a harmonious state. In this paper, the symbiotic relationship between Yangwu and toad in Han Dynasty is analyzed with the background of the unity of man and nature and the concept of funeral. Secondly, the image transmutation of Zhonghangwu and Toad in different historical stages was compared to trace the beautiful and natural state of harmony and harmony between Chinese ancestors and animals. Thirdly, by comparing the images of Yang Wu and Toad in the portrait of Nanyang Han Dynasty with other regions, we can understand the unique features of the four main stone relief areas, and highlight the humanistic value of the co-existing image of Yangwu and Toad in Nanyang. Finally, the image implication of the symbiotic image of Yangwu and toad in the portrait of Nanyang Han Dynasty is expounded, and the study on the symbiotic relationship between them is deepened. Based on the social thoughts of the Han Dynasty and the literature collected, the methods used in this paper are used to study the characteristics of the times and the artistic connotation of the symbiosis between Yangwu and toad through the surface phenomena of images. This paper discusses the emergence, development and symbiotic relationship between the image of Yang Wu and the toad, and the symbolic significance of the image of Yang Wu and the toad in the portrait of Nanyang Han Dynasty. The innovation of this paper is to discuss the different positions of the images of Yangwu and toad in the tomb environment and the surrounding decoration in the Han Dynasty, and to compare their symbiotic relationship with the images of the previous generation birds and frogs, and to compare them with the different symbolic meanings of the images of the previous generation birds and frogs.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205
本文編號(hào)：2252103
[Abstract]:In the Han Dynasty, people yearned for the world to continue to enjoy human happiness after death, and the society became popular with a extravagant style of burial. At the same time, all kinds of thoughts and adoration were mixed up, "the soul never died" belief, and "the unity of nature and man". The consciousness of yin and yang, theology of prophecy and worship of the sun and moon gods were the basis of the Han Dynasty, which created the brilliance of the portrait of Han Dynasty. From the ancient totem consciousness, to the worship of life in Chu, to the broad and profound art form of Han portrait art, we can clearly see the evolution and development of the image of the whole bird and frog. The idea of sun and moon symbiosis derived from the image of bird and frog had already sprouted in the pottery age and was applied to artistic modeling. In the portrait of the Han Dynasty, Yangwu and Toad display the sun and moon of the sky with vivid images and mature lines. The sun and moon in the sky are most closely related to human beings, and people are full of imagination and emotion. The depiction of the three-legged golden black in the sun and the toad in the moon not only avoids the dull expression of the image of the sun and the moon. Is to give the life of the sun and moon vitality. At the same time, there are abundant spiritual contents and social information in the sun, sun and the moon. The sun and moon not only express the real celestial phenomena, but also are the tools of human imagination to help people rise to the fairy. Sun and moon change, life and death cycle, the ancients in the search for a harmonious order, all coexistence of yin and yang, sun and moon symbiosis, everything has the beginning and end, the world will maintain a harmonious state. In this paper, the symbiotic relationship between Yangwu and toad in Han Dynasty is analyzed with the background of the unity of man and nature and the concept of funeral. Secondly, the image transmutation of Zhonghangwu and Toad in different historical stages was compared to trace the beautiful and natural state of harmony and harmony between Chinese ancestors and animals. Thirdly, by comparing the images of Yang Wu and Toad in the portrait of Nanyang Han Dynasty with other regions, we can understand the unique features of the four main stone relief areas, and highlight the humanistic value of the co-existing image of Yangwu and Toad in Nanyang. Finally, the image implication of the symbiotic image of Yangwu and toad in the portrait of Nanyang Han Dynasty is expounded, and the study on the symbiotic relationship between them is deepened. Based on the social thoughts of the Han Dynasty and the literature collected, the methods used in this paper are used to study the characteristics of the times and the artistic connotation of the symbiosis between Yangwu and toad through the surface phenomena of images. This paper discusses the emergence, development and symbiotic relationship between the image of Yang Wu and the toad, and the symbolic significance of the image of Yang Wu and the toad in the portrait of Nanyang Han Dynasty. The innovation of this paper is to discuss the different positions of the images of Yangwu and toad in the tomb environment and the surrounding decoration in the Han Dynasty, and to compare their symbiotic relationship with the images of the previous generation birds and frogs, and to compare them with the different symbolic meanings of the images of the previous generation birds and frogs.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205
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