商周青铜艺术身份认同功能研究

【作者】 张常勇；

【导师】 郑元者；

【作者基本信息】 复旦大学 ， 艺术人类学与民间文学， 2008， 博士

【摘要】 本文将商周青铜艺术放置在艺术人类学的理论视域内,以其特有的身份认同功能为契入点,发掘它和上古先民之间的内在联系,揭示先民在青铜艺术中的具体存在方式。通过对商周青铜艺术的重新定位和阐释,彰显艺术人类学对上古艺术世界的解读能力,探索艺术和人之间的深层关系是这部论文的理论诉求。在具体的研究中,遵循逻辑与历史相统一的原则,以走近情境为前提,根据青铜艺术身份认同功能自身的发展逻辑将问题展开如下:导论部分首先回顾商周青铜艺术的研究史,侧重讨论在学术史演进过程中,商周青铜器研究范式的变迁,提出艺术人类学的角度和方法是当代商周青铜艺术研究的内在要求和发展方向。接着具体解析所研究的问题,阐明研究中遵循的原则和方法。第一章概述商周青铜艺术的生存环境。商周青铜艺术既具有“地方性”,又是“作为文化体系“的艺术。据此,本章首先讨论生存地域、气候以及物产和青铜艺术之间存在的必然联系。再从生态人类学的角度讨论它的文化前提,重点考察技术、制度以及宗教信仰等因素对商周青铜艺术生成、发展的影响。第二章探讨属神身份认同和商周青铜艺术之间的关系。共分三节,第一节揭示属神身份的历史生成和特定内涵。第二节描述与属神身份共生的青铜艺术品所具有的三重特性:实用性、神圣性和礼仪性。第三节,在前两节的基础上从描述青铜艺术的在场情境,指出它在情境中具有的两个特征——群体性和仪式性。最后,阐述在仪式化的操演过程中,属神身份和青铜艺术品之间达成了同一关系,青铜艺术也由此获得了属神身份认同的功能。第三章论述属人身份认同和商周青铜艺术之间的关系。属人身份直接反映了现实社会中人与人之间的关系,从和青铜艺术的身份认同功能相关着眼,本章主要讨论了三种属人身份:家族身份、等级身份和文化身份,并掘此分节逐一讨论它们的内涵,以及商周青铜艺术发挥这三种身份认同功能的不同表现方式、作用机制和历史原因。第四章讨论商周青铜艺术的身份认同功能的丧失及其衰落。第一节概述东周以后青铜艺术生存环境的变化。第二节讨论商周贵族身份体系的解体、青铜艺术身份认同功能丧失的过程,以及与之相应的世俗化后果。第三节,描述商周青铜艺术的衰落。在新式贵族身份确立以后,青铜艺术失去了特殊的功能,最终走向衰落。结论部分重申商周青铜艺术的身份认同功能和其生存情境之间的对应关系,重申和先民身份之间的内在联系是商周青铜艺术生成、演变的原因之一。更多还原

【Abstract】 This dissertation studies the bronze art of Shang and Zhou Dynasties from the perspective of art-anthropology. Starting from the particular identification functions of the bronze art of the Shang and Zhou Dynasties, this dissertation explores its inherent relations with the Chinese people of ancient times, thus revealing the specific ways of living of the ancient Chinese people reflected in the bronze art. The theoretical appeal of this dissertation is to display the applicability of art-anthropology to the interpretation of arts of ancient times and explore the underlying relationships between man and arts through the relocation and re-interpretation of the bronze art of Shang and Zhou Dynasties.By adhering to the principle of integrating logics into the study of the history of the bronze art, this dissertation evolves around the identification functions of the bronze art in the following logical sequence:The Introduction gives a review of the research that has been done on the bronze art of Shang and Zhou Dynasties. By discussing the paradigm shifts in the study of the bronze vessels of Shang and Zhou Dynasties, the author of this dissertation points it out that it is a new orientation to study the bronze art of Shang and Zhou Dynasties from the perspective of art-anthropology, which meets the inherent requirements of the current studies on that subject. Then the author analyzes the problems to be solved and explains the principles and methods applied in this research.Chapter One is a brief summary of the historical background of the bronze art of Shang and Zhou Dynasties. As a part of the Chinese cultural system of that period, the bronze art displays distinct local features. This chapter first discusses the logical relationships between the bronze vessels and the geographical conditions, climate and produces of their places of origin. Next, this chapter examines the cultural prerequisites of the bronze art and investigates the influences of technology, institutions and religious beliefs on the creation and development of the bronze art of Shang and Zhou Dynasties.Chapter Two is a discussion of the relationships between the bronze art of Shang and Zhou Dynasties and being of gods. Chapter Two falls into three sections. Section One reveals the historical formation and the particular implications of being of gods. Section Two describes the tri-fold features of the bronze vessels coexisting with being of gods: practicability, sacredness and ceremonialism. On the basis of the previous two sections, Section Three makes a description of the circumstances under which the bronze art was present and reveals its two features: emerging in groups and being displayed in ceremonies. This chapter then describes how the bronze vessels were identified with gods when the ceremonies were performed. Accordingly, the bronze art acquired the function of identifying with gods.Chapter Three discusses the relationships between the bronze art of Shang and Zhou Dynasties and being of men. Being of men was a direct reflection of the relationships between men in the reality. Starting from the identification function of the bronze art, this chapter mainly discusses three types of identities of being of men: identity of families, identity of hierarchies and identity of cultures. This chapter then discusses the connotations of these three types of identities, the different manifestations when the bronze bring into play the three identification functions, its operating mechanism and the historical causes.Chapter Four discusses the loss of the identification functions of the bronze art of Shang and Zhou Dynasties and its declination. Section One summarizes the changes in the environment of existence of the bronze art after the Eastern Zhou Dynasty. Section Two discusses the disintegration of the peerage of Shang and Zhou Dynasties, the loss of the identification functions of the bronze art and its consequent secularization. After the new peerage had been established, the bronze art lost its special functions and declined.The Conclusion of this dissertation reaffirms the corresponding relationships between the identification functions of the bronze art of Shang and Zhou Dynasties and its environment of existence and points it out that the inherent relations of the bronze art with the people living in Shang and Zhou Dynasties is one of the causes of the creation and evolution of the bronze art of that era.更多还原