雷州半岛石狗艺术的解读
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摘要
雷州石狗雕刻题材丰富,工艺精湛,是一门独具特色的艺术类别,反映当时雷州半岛经济,文化和城市生活的发展,是雷州先民们的生活寄托。石狗艺术承载着从春秋战国至晚清民国时期雷州半岛民族的融汇与交流,俚獠傜僮等民族最早图腾和中原文化,闽南文化的精髓,具有丰富的文化底蕴。通过对古籍文献资料分析和田野考察的基础上,本文以石狗造型艺术作为研究对象,探讨雷州半岛石狗雕刻艺术的产生背景和造型特点,展示雷州石狗艺术的审美特征,为石狗艺术理论的深入研究提供参考。
Stone dog carving art, with rich theme and exquisite workmanship, is an important part of Leizhou Peninsula. It reflects the development of economy, culture and urban life in the Leizhou Peninsula at that time, as the life sustenance of the people of Leizhou. The stone dog art carries the essence of the integration and exchange of the Leizhou Peninsula from the Spring and Autumn Period to the late Qing Dynasty, and shows the essence of totem culture in Li, Liao, Yao and Tong People, of Central Plain culture and Minnan culture. It has rich cultural heritage. Based on the analysis of ancient literature and fieldwork, this paper takes the stone dog modeling art as the research object, discusses the background and modeling characteristics of the stone dog carving art in Leizhou Peninsula, and shows the aesthetic characteristics of Leizhou stone dog art, which provides a reference for the in-depth research of stone dog theory.
Stone dog carving art, with rich theme and exquisite workmanship, is an important part of Leizhou Peninsula. It reflects the development of economy, culture and urban life in the Leizhou Peninsula at that time, as the life sustenance of the people of Leizhou. The stone dog art carries the essence of the integration and exchange of the Leizhou Peninsula from the Spring and Autumn Period to the late Qing Dynasty, and shows the essence of totem culture in Li, Liao, Yao and Tong People, of Central Plain culture and Minnan culture. It has rich cultural heritage. Based on the analysis of ancient literature and fieldwork, this paper takes the stone dog modeling art as the research object, discusses the background and modeling characteristics of the stone dog carving art in Leizhou Peninsula, and shows the aesthetic characteristics of Leizhou stone dog art, which provides a reference for the in-depth research of stone dog theory.
引文
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[8]王梦蝶,朱晓冬.烟台福建会馆石雕装饰艺术研究[J].家具与室内装饰,2018,(11):55-57.
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[10]罗斯.雷州石狗雕刻造型探析[J].南京艺术学院学报,2011,(02):78-81.
[11]王隽彦,柯美红.福州古田会馆室内装饰艺术研究[J].家具与室内装饰,2017,(5):118-119.
[12]陈建用.雷州石狗造型艺术研究[J].艺术.文化,2011,(03):122-124.
[13]张小军.霍去病墓石雕艺术审美风格[J].学术论丛,2016,(03):105-108.
[2]陈波.雷州半岛的石狗雕刻艺术[J].装饰,2007,(08):82-84.
[3]巨云和.雷州石狗雕刻的文化特质与造型方法[J].美术研究,2008,(04):103-106.
[4]朱连城.中国民间石雕艺术的独特样式——拴马桩石雕艺术解读[J].艺术时代,2010,(05):127-131.
[5]彭康,陈子澐,唐立华.桃源木雕装饰图案留白构图特征探讨[J].家具与室内装饰,2018(03):68-69.
[6]杨文会.曲阳石雕艺术风格探析[J].东南大学学报(哲学社会科学版),2004(03):73-76.
[7]湛江市博物馆.雷州半岛石狗文化[M].广州:岭南么术出版社,2003.
[8]王梦蝶,朱晓冬.烟台福建会馆石雕装饰艺术研究[J].家具与室内装饰,2018,(11):55-57.
[9]邓中云.雷州石狗艺术探微[J].民艺之窗,2004,(03):91-92.
[10]罗斯.雷州石狗雕刻造型探析[J].南京艺术学院学报,2011,(02):78-81.
[11]王隽彦,柯美红.福州古田会馆室内装饰艺术研究[J].家具与室内装饰,2017,(5):118-119.
[12]陈建用.雷州石狗造型艺术研究[J].艺术.文化,2011,(03):122-124.
[13]张小军.霍去病墓石雕艺术审美风格[J].学术论丛,2016,(03):105-108.