关中传统民居石雕拴马桩审美研究

【作者】 陈华；

【导师】 时晓丽； 段建军；

【作者基本信息】 西北大学 ， 中国审美文化史， 2014， 博士

【摘要】 关中传统民居前的拴马桩石雕是民居建筑有机的组成部分,也是关中特有的民俗石雕艺术品类。民居前的拴马桩石雕不仅在现实平凡的生活中体现着其实用的价值,同时也在精神层面上承载着民居主人在特定的时空下对人生美好的诉求。关中拴马桩石雕被人关注只是近期的事情,然而,散落在关中民间的拴马桩石雕却以存在了何止上百年。关中是个独特的地方,看一看关中大地田野中那一冢冢隆起的黄土,踏一踏那伫立在护城河畔的古城墙,听一听那沧桑悠远的秦腔秦韵就会被关中这个地域独特的自然、人文历史所震撼。也许正是关中这一独特的历史厚重积淀,才使得民居中的拴马桩石雕的魅力直到今天才受人瞩目。关中历来被行政区划为三个地域,西安、东府和西府。拴马桩石雕艺术在关中三府地区都有遗存,以东府为最多。目前,散落在民间的拴马桩石雕主要是和被文化部门保护的古民居一起被保存了下来,大部分的石雕作品则被相关的组织部门收藏起来,其中有代表性的单位有澄城博物馆、关中民俗博物院、西安美术学院等。拴马桩以其独特的表现主题、丰富的表现元素、不拘一格的雕刻手法被人们越来越关注和追捧,在学术界也涌现出了相当的研究成果,然而对其审美视角下的研究有待进一步发掘。任何一项艺术作品的审美研究都是对该艺术作品在欣赏者心理展现的生命本原状态的研究,审美研究是以作品的生命和人类生命为基点的研究。目前,由于拴马桩石雕在保护过程中对其“原境”的“消解”,拴马桩在现有的时空环境下并不能给观赏者展现其独特的生命意蕴,因此,文章把拴马桩石雕放置在传统民居的环境下,进而不断延展其生存的环境层次,最终希望对其表层符号体系表达的涵义有一个较为准确的解读。论文从关中的地理环境、文化脉络、政权更迭、社会经济及社会风气等方面,首先梳理拴马桩石雕艺术产生的环境特点,在对其称谓、断代、分布等基本问题进行分析的基础上,立足整体论的视角理出了关中民居石雕拴马桩产生的基本线索：柱础-门枕石-拴马桩。论文把拴马桩艺术产生的机理作为文章的基本逻辑延展,分别从黄土文化与石头文化、官雅文化与民俗文化、士文化与商文化、汉族文化与少数民族文化、民居主人与石雕匠人五组辩证统一的矛盾入手,对目前被人们关注的拴马桩“人驭狮”造型、“胡人”造型等问题进行了审美视域下的解读。在对拴马桩石雕生命逻辑有了一个阐述之后,文章从儒家文化、道家文化和释家文化三个文化符号系统,对拴马桩石雕承载的符号做了归类和整理,借此对其表达的审美文化内涵有了一个较为深刻的把握。通过儒家文化的“山石情节”、“礼乐”文化及“桩眼”的视角,阐释了拴马桩石雕艺术的儒家文化内涵。关中地域和中国道教及道家文化关联源远流长,在关中地区沉淀出了厚重的道家文化基础。明、清道教在关中的“世俗化”倾向,造就了关中特有的民间中国“吉祥文化”符号成为拴马桩石雕最为丰富的表现元素。除此之外,马桩石雕作品无一雷同的特点,也许是道家的精神在石雕上的最好诠释。关中是佛教传入中国的最为重要的地域,拴马桩石雕桩颈部几乎都使用了“须弥座”,这也是诠释佛教文化最集中的体现,此外,对佛形象的借鉴与经幢造型的比较上,都呈现出拴马桩石雕包涵的释家文化内涵。拴马桩石雕有着深厚的文化内涵,让观者体味到其独特的生命意蕴,让人体验到美,这种审美的体验是以其特定的外在形式为媒介的,在艺术形式的层面上栓马桩依然体现着其特有的形式之美。来自北山之上的石材本身的特点,结合天圆地方的整体构架、对角线原则、多样统一原则,以及中国画写意风格的石雕技法等方面充分展现了栓马桩石雕作品的外在的形式之美。在关中历史的积淀下,拴马桩石雕作品承载着太多的文化元素,对文化元素体系的结构分析是真正把握其作品审美内涵的必要,也是进一步阐释作品审美风格的前提。拴马桩石雕的文化内容呈现出这样一个有机结构：儒家的历史沉淀、道家的现实追求、释家的逻辑借鉴。这三者有机统一在拴马桩石雕上,成为一个独特的地域民俗文化模型。在特定的文化内涵基础上,拴马桩石雕表现出多种审美风格：中和之美、实用的美、庄重的美、包容的美等。拴马桩石雕艺术在当今的文化环境及人们的心理需求层次下,其收藏现象折射出的是一种“羊大为美”审美追求。立足拴马桩石雕的视野,其蕴含着以“门-户观”及“天地人和”的内在审美生存内涵。借助这样的生命存在内涵,拴马桩石雕对“和而不同”的人生追求的诠释向人们诉说着关中民居里主人关于“人性”的理解。更多还原

【Abstract】 Shuanma pile of stone carving art is an organic part of the Guanzhong area of Shaanxi Province ancient residential buildings, as well as unique folk customs in stone carving art classes Shuanma pile of stone carving art is not only embodies the values actually used in real life, ordinary, while also carrying on a spiritual level with residential owner demands for a better life in a particular time and place Shuanma pile of stone carving art of being concerned only recent thing, however, stone hitching post, but far more than a century in existence Guanzhong area is a unique place, take a look off in the land of the fields that many Royal Mausoleum, walk in standing in the moat banks of the ancient city wall, listen vicissitudes distant opera will be closed in the region’s unique natural and cultural history of the shock.Perhaps it off in the thick of this unique historical heritage, which makes the charm of the hitching post of stone carving art until today the subject of attention.Guanzhong has always been the administrative division into three regions, Xi’an government, the government in eastern and western governments.Shuanma pile of stone carving art in Guanzhong area has three House remains, east of the government is up to.Currently, part of the folk stone hitching post along the ancient houses along been preserved, most of the hitching post stone works were covered up the cultural sector, a representative of these organizations are: Chengcheng Museum, Guanzhong Folk Museum, Xi’an Academy of Fine Arts.Hitching post for its unique stone carving art performance theme, rich expressive elements, eclectic sculptures are a growing concern and sought after, also emerged in academia considerable research, however, under its aesthetic perspective research needs to be further explored.Aesthetic study of any one work of art is the art of showing implication of the study of life, aesthetic research is not only based on the work of life, but also based on the human life.At present, because in the process of protecting the hitching post, so that these arts to leave the original environment, leading to the hitching post under the current environment does not give viewers time and space to show their unique life implication, therefore, the authors tie horse pile of stone placed in the traditional houses of the environment, and thus continue to extend its environmental levels of existence, eventually hope to have a more accurate interpretation of the meaning of its surface expression symbol system. Papers from the aspects related geographic environment, cultural context, regime change, socio-economic and social trends, etc., first comb stone carving art environmental features hitching post generated, based on the analysis of its basic problems title, dating, distribution, etc., the based on the perspective of the overall sort out the basic clue residential stone hitching post Guanzhong generated:plinth-door pillow stone-hitching post.The art of paper generated by the mechanism of hitching post as a logical extension of the basic articles, respectively, from the loess culture and rock culture, the official Ya culture and folk culture, literati culture and business culture, Han and non-Han Chinese culture cultural, residential and master stone workers in these contradiction between the start of the current attention hitching post "human control lion" shape,"barbarian" modeling issues such as the interpretation of the aesthetic Perspective.Following the logic of the hitching post had an elaborate carving of life, the article describes the stone hitching post reflects the Confucian culture, Taoist culture and Buddhism culture, and on the basis of this analysis, interpretation of stone carving art aesthetic hitching post cultural connotations.By Confucian culture "rocks plot","ritual" culture and "pile eye" perspective, explain the meaning of Confucian culture stone carving art of hitching post Guanzhong area has a long history of Chinese Taoism and Taoist culture, precipitated in the Guanzhong area of heavy Taoist Cultural Foundation. Ming and Qing Taoism in Guanzhong’s "secular" tendency, creating a unique folk customs in China "auspicious cultural" symbol stone hitching post to become the most abundant element in the performance.In addition, the hitching post stone works without a similar characteristic, perhaps the spirit of Taoism in the stonework of the best interpretation.Guanzhong area to play in the process of Buddhism into China’s important role in the pile of stone hitching post neck almost all used the "Xumizuo" is the most concentrated expression of Buddhist culture, in addition, with reference to the Buddha image Jingchuang stone shape in comparison, mostly stone bear emerged hitching post Buddhist cultural connotations.Stone hitching post has deep cultural connotation, allowing viewers to appreciate the implication of their unique life, people experience the beauty, the aesthetic experience is its specific form of external media, on the level of art form bolt hitching post still embodies its unique form of beauty.Hitching post of the raw materials are mined stone on North Hill Guanzhong area in the north, where the stone is very characteristic. Patterned features stone hitching post works are:hemispherical dome, diagonal principle, the principle of Unity in Diversity, in addition, similar to Chinese painting carving techniques fully demonstrated the external form of the bolt hitching post stonework beauty.Hitching post stone work carries too much cultural elements, structural analysis of the cultural elements of the system is truly grasp the meaning of his work aesthetic need, but also to further explain the premise of aesthetic style works. Cultural content presents a stone hitching post such an organic structure:Confucian history of precipitation, the reality of the pursuit of Taoism, Buddhism and draw logical home. These three organic unity in the stone hitching post, becoming a unique model of regional folk culture.These three organic unity in the stone hitching post, becoming a unique local folk culture models. In the specific cultural connotations, based on the performance of a variety of stone hitching post aesthetic style:the beauty of harmony, practical beauty, solemn beauty, the beauty of tolerance and so on.Shuanma pile of stone carving art in today’s cultural environment and people’s psychological needs hierarchy, its collection is a reflection of the phenomenon of "Big Sheep" aesthetic pursuit.Based on the vision stone hitching post, which contains a "door-home concept" and "Heaven and Earth" intrinsic aesthetic existence connotation Shuanma stone pile Art contains a specific meaning in life, the interpretation of the relevant people in the "human" understanding, embodies the right "and different" pursuit of a harmonious society.更多还原