时空与心灵间的视象

【作者】 李亮；

【导师】 郑岩； 李少文；

【作者基本信息】 中央美术学院 ， 美术学， 2012， 博士

【摘要】 本文以殷墟青铜器纹样讨论为契机,将其放在社会时空和人类心灵两个维度进行观察,始终围绕着一个潜在的问题展开：在观看中,作为依附于特定器形的平面纹样(偏重视知觉和审美)、作为具有特定材质的青铜器(偏重材质的选取和工艺)、以及作为具有原始宗教礼仪功能和政治内涵的青铜礼器(偏重原始信仰和社会制度),在人类早期历史中有着怎样的进展线索和关系?在这些关系中能反映出人与自然、人与人(社会)、人与物(“艺术品”)以及人自身(原始信仰)之间怎样的变化?从中我们获得何种启示?引言以“我”对司母辛方鼎的一次观看为缘起,追问作为情境的拷问者(关注时空事实)和风格的观相家(关注心灵事实)如何共同构建“真实”,从纹样研究的学术史与此种真实之间关系的思考中引出本文描述纹样历史的方法。第一章顺着纹样形式追根溯源,以追忆的姿态回到新石器时代初期人类浑然一体朴素无分别状态。随着剩余产品的出现,贫富的分化,社会结构发生了转变,随之一些与“艺术品”相关的概念也纷纷产生(“艺术”、“仪式”、“礼器”等)。穿越了陶器与玉器两大载体,在第二章青铜器载着纹样带我们来到了横亘三个百年的殷墟时空,“我”面前的司母辛方鼎继续讲述着它与工匠、陶土和火石的故事。此后通过一件件用“艺术家”的巧手和汗水凝结的作品,透过其上乍晦乍明的华虫鸟兽,我们回顾了商王朝在最后一次迁都安阳后的复兴与繁荣(武丁时期),以及此后的收敛和调整(祖甲、康丁时期)。在第三章,伴着文字的登场,对于观者而言,青铜器具备了“阅读”功能。晚商末年(帝乙、帝辛时期)青铜器及其纹样功能的微妙变化同时折射了商周之际社会环境以及人们观念可能的改变,纹样在这里成为了无声的指指引。更多还原

【Abstract】 This thesis takes the opportunity to discuss patterns found on bronze vessels in Yin Dynasty Ruins. These discussions are approached from the two dimensions of social space and time and the human mind, always expanding the study around the following potential problems:in viewing, what are the progress clues and relationships among plane patterns depending on specified vessel shapes (emphasizing visual perception and aesthetics), bronze vessels possessing particular materials (emphasizing selection and craftsmanship of materials), and bronze sacrificial vessels with primitive religious functions and political connotations (emphasizing primitive beliefs and social systems) in the early human history? What are the changes in the connection between man and nature, man and man (society), man and objects ("artworks") and the man himself (primitive beliefs) within these relationships? What lessons can we learn from these?Originating from "the author’s" own view of the Simuxin Rectangle Ding, the introduction makes a detailed inquiry of how a torturer of situations (focusing on spatial and temporal facts) and observer of styles (focusing on mental facts) work together to build "truth", and introduces the thesis’methods of describing the history of patterns, based on the reflection of the relationship between academic history of pattern study and such a truth. According to the formation of said patterns, the first chapter traces their source, dating back to the early period of the New Stone Age, in which humans are in an integrated, simple and similar state, with a stance of recollection. With the appearance of surplus in produce and differentiation between rich and poor, social structure was changed, and some concepts relevant to "artwork" were created one after another (such as "art","ceremony","sacrificial vessel", etc.). Through the two great carriers of pottery and jade articles, bronzes with patterns transports us to the space and time of the Yin Dynasty Ruins spanning three hundred years, in the second chapter, and the Simuxin Rectangle Ding facing "the author" continues telling the story of itself and artisans, clay and flints. Later, we look back upon the revival and prosperity of the Shang Dynasty after its last capital shift to Anyang (Wu Ding Period) and the consequent constringency and adjustments (the periods of Zujia and Kangding), through pieces of works agglomerated by "artists’" skillful hands, sweat and the dark or bright flowers, pests, birds and animals on them. In the third chapter, with the arrival of words, bronze is equipped with "reading" function for viewers. In the late Shang Dynasty (the periods of Emperor Yi and Emperor Xin), the subtle changes in the function of patterns on bronze also reflect the possible changes in social environment and people’s concepts between Shang and Zhou Dynasty, with patterns here as a remarkable guide.更多还原