【作者】 朱文涛；

【导师】 诸葛铠；

【作者基本信息】 苏州大学 ， 设计艺术学， 2010， 博士

【摘要】 古罗马和汉帝国是处于同一时代的中西两大文明。一方面,两者有着丰厚的物质文化,全面形成各自完善的造物体系,代表着当时古代世界文明的最高成就。另一方面,古罗马和汉代位于欧亚大陆东西两端,虽有间接的传播影响但并无广泛直接的文化交流,是中西方独立发展成熟的文明,也是世界文明发展的两种典型模式。造物是物质文明创造的全部过程与结果,是文化的外在表现和形态。因此,对两者造物艺术的特征和成因进行深入的比较分析,对于中西方古代文化体系的考量有着理论价值和现实意义。本文根据设计文化、设计原理、设计美学三方面的理论基础来建立对古罗马和汉代造物艺术平行比较研究的基本结构,因此,全文分为文化成因比较、物质形态比较、审美风格比较三个部分。三部分也是以总-分-总的逻辑关系构成全文的研究框架。第一部分是以提纲挈领和整体把握的思路对古罗马和汉代造物艺术的文化成因进行分析。古罗马和汉代有着各自的自然基础、经济环境与科技发展,形成两者造物范式中物质因素上的差异。古罗马和汉代各自的传统文化和政治进程形成两者造物范式中诸多延续与变革因素。古罗马和汉代宗教信仰和风尚习俗的不同形成两者造物范式中精神因素的差异。两者也有着不同渊源和发展轨迹的艺术形式规律。第二部分是以翔实材料和具体分析为思路对古罗马和汉代造物艺术的材质工艺、结构、形制与装饰的形态要素进行比较。古罗马和汉代在金属工艺、陶工艺、纺织工艺、玻璃及漆器工艺、玉石工艺上有着不同的技术传统和发展轨迹。两者在建筑、服装、家具、工具和武器的结构形态上有着不同的选择和适应。两者在饮食器具、灯具和肖形器物上体现着各自独特的造型特征和审美理念。两者有着各种装饰纹样、装饰题材和主题内容,体现了各自艺术形式的文化渊源和表现方式的差异。第三部分是以综合评述和理论概括为思路对两者造物艺术的审美风格进行比较。我对造物艺术风格的考察基于审美形式的描述与评论、审美心理的分析、风格的演变与发展这三个层面上展开,试图探究古罗马和汉代造物艺术在形式表现上的本质差异,审美主体情感、观念、思维方式上的内在分岐,以及解释两者造物艺术风格形成、演进和变迁的主要动力和内在原因。本文对两者的造物艺术从多个角度进行分析得出一些结论。第一、推动古罗马和汉代物质文化发展的内在规律有着明显差异。古罗马造物艺术发展的根本动力来自社会经济活动,而汉代造物艺术的核心是体现统治规范和社会伦理。第二、古罗马和汉代造物艺术特征有着重要不同,古罗马造物艺术从模仿观念出发恪守现实主义和自然主义传统,汉代造物艺术则从主体对客体的观象出发通过模件和程式系统体现大一统的规范和宏大气魄。第三、古罗马和汉代在中西方造物艺术发展进程中具有重要意义。古罗马造物艺术奠定了西方古典主义的样式和规范,也是西方造物艺术的传统由盛转衰逐步转向宗教文化的肇始。汉代造物艺术是中国本土物质文化体系的掩卷之作,又是受到外来文化影响的开端。更多还原

【Abstract】 The Ancient Rome and the Chinese Han Dynasty are two main eastern and western civilizations in the same times. In the one side, they have prosperous material culture, representing the top of that time’s civilizations. In the other side, now that they are located at the east and west ends of Eurasia they are the mature civilizations on their own although having indirect effect on each other but there is no broad or direct cultural communication between them. Therefore, the comparative study of the characteristics and origins of the two creation arts has theoretical value and practical significance to examine and weigh the Chinese and western ancient cultural system.The article tries to build a basic framework to carry on a parallel study to the Ancient Rome’s and the Chinese Han Dynasty’s creation arts in the three aspects:design culture, design principle and design aesthetics.Part I is to analyze the material cultural reasons of the Ancient Rome’s and the Chinese Han Dynasty’s creation arts. The Ancient Rome and the Han Dynasty have their respective natural bases, economy environment and science-technology development, forming the difference between the two creation paradigms. They have their own cultural tradition and political process, which leads to a lot of renewal and reformative factors of the two creation paradigms. The difference between their religious beliefs, fad and customs is their mental factors of the difference between the two creation paradigms. They have their own origins and trajectory of the art form.Part II is to compare the material, handicraft, structure, shape and decoration of the Ancient Rome’s and the Chinese Han Dynasty’s creation arts. The Ancient Rome and the Chinese Han Dynasty have their different technology tradition in metal handicraft, earthenware handicraft, spinning and weaving handicraft, glass and lacquer-ware handicraft, jade and stone handicraft. They have different choice and development on the architecture, costume, furniture and weapon. They have their respective modeling feature and aesthetic idea on the food utensils and lamps. They have their respective art motif and decorative theme, expressing their cultural origin and difference.Part III is to compare the two aesthetic styles. My observation and studies to creation artistic style bases on the three points:description and comment of aesthetic form, analysis of aesthetical mental set and style evolution. I try to probe into the difference between their creation arts such as the inherent difference of aesthetic subject,emotion, concept and thinking.I also try to make an explanation of inherent causes of forming development and appreciation of the Ancient Rome’s and the Chinese Han Dynasty’s creation arts. The comparison to the Ancient Rome’s and the Chinese Han Dynasty’s creation arts reaches three main conclusions. First, the main driving force of the Ancient Rome and the Han Dynasty material cultural development has obvious difference. The basic driving force of the Ancient Rome’s creation art comes from the society economic activities, but the core of the Chinese Han Dynasty’s creation art is the ruling norm and society ethics and orders. Second, there is important difference between the two creation arts.The Ancient Rome’s creation art scrupulously abides by realism and naturalism tradition while the Chinese Han Dynasty’s creation art sets off from the subject-object imagery to embody standardization and magnificence by module and formula system.Third, the Ancient Rome and the Chinese Han Dynasty have their own importance in the development process of the Chinese and Western creation arts. The Ancient Rome’s creation art established western classicalism’s model and standard, starting to decline and then to change into religious art step by step while the Chinese Han Dynasty’s creation art is the end of the Chinese indigenous system of material culture but also the beginning of exotic culture’s affects.更多还原