【作者】 卢昉；

【导师】 杨休；

【作者基本信息】 西安美术学院 ， 美术学， 2012， 博士

【摘要】 “人虎母题”图像，是表现“人”、“虎”或对抗、或亲昵、或合作的某种关系的装饰图像，是历经漫长岁月演化的、由多种因素综合铸就的、凝聚时代特征与精神的文化符号。嬗变而多姿的两汉“人虎母题”图像，既印证了时代的变迁，又焕发出多样的情态，是时代风貌与精神的投影。审视并研究两汉“人虎母题”图像，不仅能探寻该图像的源流，挖掘它所蕴含的文化内涵及所反应的社会制度，了解两汉时期的时代精神及审美意识，还对进一步认识两汉生死观、宇宙观、丧葬习俗等问题具有深远的理论与现实意义。本文从文化背景出发，吸收国内外先进研究成果，运用艺术考古学、考古学与艺术学等多学科的研究方法，将四重证据法及多元方法论融入图像研究，涵盖铜器、玉器、陶器、画像石等多类器物，多角度、多层面地探究“人虎母题”图像的文化属性与社会功能，力求在考古出土的图像资料与历史文本之间找到对应关系，从而探寻人文思想、社会风尚及时代精神等因素与母题图像表现规律之间的关系。两汉“人虎母题”图像的发展，有一个明显的嬗变过程。本文梳理出它肇始于新石器时代中晚期，经夏商周三代发展，至两汉开始丰富并转型的流变历程，归纳了两汉“人虎母题”图像的时代特征，并划分出“西汉前期——中期：继承与发展”、“西汉晚期——新莽时期：过渡”、“东汉时期：转型”三个阶段。两汉“人虎母题”图像，呈现出丰富的题材类型。这一时期，人们对“虎”的情感相当复杂，虎既有自然属性，又被赋予文化属性。本文从人对虎的情感心理入手，分析了“人虎母题”图像中“虎”形象的文化内涵，将汉朝人复杂的崇虎心态归结为“臣服”与“抗争”双重情感交融互渗的矛盾心理显现。在此基础上，依据属性与题材的不同，将“人虎母题”图像分为“角牴田猎”、“纳福辟凶”、“升仙长生”三种类型。两汉“人虎母题”图像，是时代风貌的投影。本文在系统分析的基础上，将其置于文化背景中，从社会制度、时代精神、审美意识等方面出发，结合尚武情怀、游仙思想、鬼神观念等汉代流行的思想意识，探究两汉“人虎母题”图像的文化内涵及历史使命，并力求对它牵涉的一系列社会问题做出一些合理的解释。更多还原

【Abstract】 “Man-tiger Motif” image is a kind of decorative one which could express the defensive oraffective or cooperative relationship. It is also the cultural sigma that contains multi-factorand era characteristics and spirit, through the development and change of the long time. Therich and changeable “Man-tiger Motif” image not only proved the social improvement, butalso shows the various emotions. It is the reflection of the era view and spirit.The paper observes and studies the motif, in order to not only discover the origin of theimage, discover its cultural intension and social system, understand the era spirit and aestheticconsciousness of the Han Dynasty, but also could have a deep theoretical and practicalmeaning on further idea of the concept of the life&death, cosmology and funeral view.“Man-tiger Motif” image owns the obvious process of change. The paper tries to startfrom the cultural background, to absorb the advanced national and international research andto use the multi-disciplines study which contains art archaeology, archaeology and art. It alsoinvite the four-weight of evidence law and multi-method methodology into the image study,which contains the various artifacts like bronze, jade, pottery and portrait stone. The papertries to find the origin of the “man-tiger Motif” anglly and levelly, and get the idea which themotif started since the mid or late New Stone Age, developed during the Xia Dynasty, ShangDynasty&Zhou Dynasty, and enriched and changed in the Han Dynasty. It also gets the pointof the era characteristics of the motif and the stages which are the inheritage&development–early Han Dynasty to mid&late Han Dynasty; the transition–late Western Han Dynasty toXinmang Period; the change–Eastern Han Dynasty.“Man-tiger Motif” image shows the various topic types. During the Han Dynasty, humanbeing had a very complicated emotion on tiger. Tiger at that time had both its natural andcultural characters. The paper sums up this complicated emotion into the reflection of theconflict psychology which are the double combination of “submit” and “oppose”. Based onthis and the differences of the characters and topics, the image of the “Man-tiger Motif” could be divided into three kinds, which are for hunting, for holy and for immortal.“Man-tiger Motif” image is the reflection of the Han era view. The paper tries to put thisimage into the basement of the systematic analysis and the background of the culture. It startswith the social system, era spirit and aesthetic consciousness, and combines the popularthinking outlines in Han dynasty, such as Kongfu complex, immortal idea, and ghost&holyconcept. The paper also tries to study on the cultural intension and historical task of the“Man-tiger Motif” image, and also expect to give a relative reasonable explanation of theseries social questions.更多还原