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我国南方铜鼓是在金石考据和土俗观察的基础上进入艺术史视野的,其写实性纹样出现在铜鼓文化兴盛的秦汉时期。此类样式的形成,从历时性看是对滇桂两地岩画艺术的传承,从共时性看有对东越、吴越等地青铜艺术的吸纳和借鉴。在这一视觉形式的背后,隐含着南方古代先民内心原始文化观念的传播与承继。文章讨论该类纹饰的成因及内涵,可为我国古代艺术的研究提供一个边地的角度,对该区域内早期文化交流情况具有重要的意义。
The bronze drums in the south of our country entered the field of art history on the basis of the test of the precious stone and the observation of the folk customs. The realistic patterns of the bronze drums appeared in the Qin and Han dynasties in which the bronze drum culture flourished. The formation of such patterns, from the diachronic perspective, is the inheritance of rock art in Yunnan and Guangxi. From the synchronic perspective, it is helpful to learn the bronze art from Dong Yue and Wu Yue. Behind this visual form, it implies the dissemination and inheritance of primitive cultural concepts in the ancient ancestors of the South. The article discusses the origin and connotation of this kind of ornamentation, which can provide a frontier perspective for the study of ancient Chinese art and is of great significance to the early cultural exchange in this area.