【作者】 顾俊剑；

【导师】 周波；

【作者基本信息】 山东师范大学 ， 美学， 2012， 硕士

【摘要】 对存活于我国古今社会生活中的重要器物文化研究及其审美因子的挖掘，是当下中国美学研究之重要一维。通过对具体器物文化的研究，来揭示人类普遍审美意识以及民族古代审美活动规律，较纯理论研究更具实证性，更具操作难度。本文拟通过对先秦蚕丝文化进行系统考察，继而探究其审美生成，并对先秦时期审美观念诸多方面进行相应的讨论。第一章通过对我国古代史前蚕丝进行“文化考古”，继而以此途径揣摩史前人类审美意识的发生问题，讨论的时间域主要集中在新石器中晚期。首先通过对目前已经出土的与蚕丝紧密相关的三类出土物（丝织物、蚕纹物、蚕形物）进行了详细分析，并由此探讨人类美感发生的三个重要方面：数感生成、线感生成、立体感生成。继而系统分析了先秦墓葬丝织品与蚕形物，通过对玉蚕、金蚕相关文物的分析、文献的梳理，探讨了玉蚕的祭祀之用、礼制之用以及形式层面与工艺层面的审美性，同时纠正了学界关于“金蚕”的相关误会。第二章从巫术、宗教、政治、礼制等方面探究先秦时期“蚕”所具备的隐在审美性，进行了相关探讨。继而对宗教层面的“蚕神”崇拜，与礼制方面的“蚕礼”以及民俗方面的“蚕俗”作相关梳理，论述了“蚕”在由巫到神、到美整个过程中的审美性分化与独立的过程。古人对“蚕”的心理状态是不断变化的，可概括为：从殷商“巫”时代的“畏”到西周“神礼”时代的“敬”，再到春秋“礼”时代的“亲敬”，最终被“仁”化。而在这个过程中，其审美性渐渐地从巫、神、礼中得以独立出来。就“丝”层面，本部分着重聚焦先秦丝织物的纹饰，指出其与史前陶器纹饰、商周时期青铜器纹饰的关联性，并就其本身的纹饰之美进行了相关讨论。第三章着重聚焦“丝乐”这一先秦重要艺术形式，并从文献、文物两大方面进行考察，得出“蚕丝制琴弦，大约开始于殷商，兴盛于春秋时期”这一结论，并分析了“蚕丝”物之本性对于丝乐风格的影响，同时对当下学界关于丝乐的风格界定提出了另外的看法，认为丝乐之美主要体现在柔曼绮丽、中正平和、哀婉悲美这三个方面。总的来讲，本文选取先秦时期的“蚕丝”文化，通过对巫术、文物、文字、艺术、民俗等方方面面途径，通过具体物象的研究，以多学科的方法，多角度的思考，探究了人类美感的发生、先秦蚕丝文化潜在的审美因子生成、潜在审美因子的分化与独立等问题，最后落脚于探究先秦蚕丝与艺术审美之间的关系问题。本文不希冀精准探究，不奢求宏大叙述，而是力图在具体中把握抽象，在微观中了解宏观，如此可能更为贴近历史之本来面相。更多还原

【Abstract】 The study of important artifact cultures in the ancient and modern social life of ourcountry and the excavation of their aesthetic factors is an important dimension of contemporaryChinese aesthetics research. To reveal the universal aesthetic sense of human beings and thelaws of ancient ethnic aesthetic activities by studying concrete artifact cultures, is moreempirical and more difficult than pure research. Through a systematic investigation of pre-Qinsilk culture and its aesthetic culture, this thesis offers relevant thinking and discussion on manyaspects of the pre-Qin aesthetic perception.The first chapter through to our country ancient times prehistoric silk culturalarchaeological‘, and then to ponder the way human aesthetic consciousness of prehistoricproblems and discussion of the time domain mainly concentrated in the neolithic period. Basedon current has unearthed and silk is closely related to the three categories of unearthed objects(silk weaving content, silkworm grain content, silkworm replica content) on detailed analysis,and inquiry into the human aesthetic feeling happened three major factors：number sensegeneration, line feeling generation, stereo sense is generated. Then the system analysis andsilkworm fake silk burial objects, through to the jade silkworm, gold silkworm of cultural relicsrelated literature analysis, the comb, and discusses the sacrifice of the silkworm used jade, theuse of evidence and the form level and technology level of aesthetic, and correct the academiccircle on the‘gold silkworm related misunderstanding.The second chapter of the pre-qin period silkworm from the witchcraft, religion, politics,morality, etc to differentiate into its hidden in aesthetics, and the correlation is discussed. Andthen to the religious aspects of the‘silkworm god’worship, and etiquette‘silkworm li’andfolk’silkworm common’for relevant comb, and discusses the silkworm by wu to god, in thecourse of the beauty aesthetic differentiation and independent of the process. The ancients to‘silkworm psychological state is actually changing, but simply summarized as：from’wu‘eraof YanShang’fear‘to the western zhou dynasty’god ceremony‘era of’respect’, again to thespring and autumn period‘the ritual’The Times‘real respect’, was eventually‘benevolence’ change. In the process, its aesthetic drifted from wu, god, was to independence.‘The wire’level,this part emphasizes to focus on the things of the grain, and points out the prehistoric crockeryornamentation, shang period of bronze decoration association, and on its own beauty of grainand the correlation discussion.The third chapter focused on‘silk yue’the pre-qin important art form, and literature,cultural relics from the two aspects of investigation, it is concluded that the use of silk strings,started about YanShang, thriving in the spring and autumn period this conclusion, and from‘silk’material for silk of the nature of the influence of music style, and the academic circle onthe style of music silk definition proposed another view that silk joy of beauty basically reflectsin RouMan beautiful, gentle, mournful beauty sad three aspects.In general, this article selects the pre-qin period‘silk’culture, and through to thewitchcraft, cultural relic, writing, art, folk all aspects such as way, through the concrete objectof study to multidisciplinary method, multi-angle thinking, to explore the human aestheticfeeling and the problems of the culture of silk and differentiation and aesthetic factors such asindependent, and finally, locate in the pre-qin silk and art to explore the relationship betweenthe aesthetic. Neither hope for precise inquiry, also don’t expect the grand narrative, but tryingto grasp abstract in concrete, in the micro in understanding the macro, so may be more close tothe truth of history.更多还原