湖南鸮形铜卣的艺术形式及文化内涵
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摘要
湖南省娄底市双峰县出土的商代青铜酒器鸮形铜卣是商代中晚期祭祀礼器,其通过对称的处理手法烘托出凝重高古的宗教气息,运用写意的方法简练概括地塑造了"神鸟"形象,采取适形的视觉语言勾勒出和谐统一的装饰纹样。商代"尊神尚鬼"的宗教思想使鸮鸟成为"吉祥之鸟",西周民神并重的思想意识却使之变成了"不祥之鸟",使鸮鸟形象在青铜器上由盛而衰。鸮形图像的兴衰反映了宗教信仰变化致使审美观念变化的规律,同时也反映了统治者的意志。
The owl-shaped copper You unearthed in Shuangfeng County, Loudi City in Hunan province, was the ritual utensil in the middle and late Shang Dynasty, which showed dignified and ancient religious influence through symmetric approaches. The Chinese freehand brushwork method was applied to simply and broadly depict the "God Bird"image. The proper visual language was adopted to outline the harmonious and unifying decorative pattern. The religious thought of "respecting god and adoring ghost" in Shang Dynasty made the owl "auspicious bird", while the ideology of "god and common people being equal" in the Western Zhou Dynasty turned it into "ominous bird". From prosperity to decline, the owl image on the bronze wares not only revealed the rules concerning religious faith change leading to aesthetic idea change, but also reflected the will of rulers.
The owl-shaped copper You unearthed in Shuangfeng County, Loudi City in Hunan province, was the ritual utensil in the middle and late Shang Dynasty, which showed dignified and ancient religious influence through symmetric approaches. The Chinese freehand brushwork method was applied to simply and broadly depict the "God Bird"image. The proper visual language was adopted to outline the harmonious and unifying decorative pattern. The religious thought of "respecting god and adoring ghost" in Shang Dynasty made the owl "auspicious bird", while the ideology of "god and common people being equal" in the Western Zhou Dynasty turned it into "ominous bird". From prosperity to decline, the owl image on the bronze wares not only revealed the rules concerning religious faith change leading to aesthetic idea change, but also reflected the will of rulers.
引文
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[2]刘敦愿.中国古代艺术中的枭类题材研究[J].新美术,1985(4):54-63.LIU Dunyuan.Study on the Owl Theme Chinese in Ancient Art[J].New Art,1985(4):54-63.
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[4]祖占魁.古酒漫笔[J].娄底师专学报(社会科学版),1988(1):51-53.ZU Zhankui.Ancient Wine Ramble[J].Journal of Loudi Teachers College(Social Sciences),1988(1):51-53.
[5]龙楚怡,吴卫.殷墟妇好鸮尊艺术特征及其文化内涵探析[J].设计,2015(6):113-115.LON G C h u yi,WU Wei.Analysis on the Artistic Characteristics and Cultural Connotation of the Fuhao OwlShaped Zun from Yin Dynasty Ruins[J].Design,2015(6):113-115.
[6]吴卫,宋立新.平面构成:图说本[M].北京:北京理工大学出版社,2010.WU Wei,SONG Lixin.Graphic Composition:Version w ith Illu stration[M].B eijin g:B eijin g Institu te of Technology Press,2010.
[7]程晓洁.浅谈舞蹈编导与创意思维[J].音乐大观,2011(11):24-25.CHENG Xiaojie.The Choreographer and Creative Thinking[J].Music Magazine,2011(11):24-25.
[8]王含.商周青铜器鸟图像的艺术的研究[D].南京:东南大学,2011.WANG Han.Study of the Bird Images on Bronzes in Chinese Sh an g an d Zh ou D yn asty[D].N an jin g:Sou th east University,2011.
[9]朱朝阳,王沛.昔为战神,今为“愤怒的小鸟”:山西博物院青铜鸮卣鉴赏[J].晋城职业技术学院学报,2012,5(1):84-86.ZHU Zhaoyang,WANG Pei.God of War in the Past but“Angry Birds”at Present:Appreciation of the Bronze Owl-Shaped You Collected by Shanxi Museum[J].Journal of Jincheng Institute of Technology,2012,5(1):84-86.
[10]王秀梅.中华经典藏书:诗经[M].北京:中华书局,2006.WANG Xiumei.Chinese Classics Collection:The Book of Songs[M].Beijing:Zhonghua Book Company,2006.
[11]柳宗元.同刘二十八院长述旧言怀感时书事[M]//刘禹锡.柳河东集.上海:上海古籍出版社,2008:678.LIU Zongyuan.Sentiments From Recalling with Emotion with Liu Yuxi[M]//Liu Yuxi.Liu Hedong Set.Shanghai:Shanghai Ancient Books Publishing House,2008:678.
[12]申汇.猫头鹰:从不祥之兆回归玄鸟崇拜[J].参花,2013(11):34-36.SHEN Hui.Owl:From the Bad Omen Return Black Bird Worship[J].Ginseng Flower,2013(11):34-36.
[13]王政.殷墟文化中的鸮鸟辟邪观念及在后世的变化[J].华夏文化,2009(3):11-14.WANG Zheng.The Culture of an Owl Evil Concept and Changes in the Future[J].Chinese Culture,2009(3):11-14.