文化纪念与情感形式
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摘要
公元一世纪前后,位于欧亚大陆文明地带东西两端的中国汉帝国、罗马帝国在纪念雕塑上都取得了较高的成就,但就其纪念雕塑的城市公共性而言,两者存在巨大的差异。在罗马,纪念雕塑主要被置于整个城市的大环境中,和其他公共场所发生有机的联系,而汉代纪念雕塑大多是依附于各种墓葬建筑而存在,形成了陵墓雕塑为主体的纪念雕塑艺术,缺乏像罗马纪念雕塑的城市公共性特征,这与罗马和汉代这一时期的城市功能、宗教文化、社会阶层结构、文化交流有着极其密切的关系。从城市建设格局来说,罗马城市的开放性,公共性,人文性决定了罗马的纪念性雕塑大多设置在城市公共建筑群中,构成了完整的城市文化景观,汉代都城的军事防御性、严格等级制度和帝王宫城等性质特点使大部分纪念雕塑往往依附墓葬建筑与大自然结合在一起,具有纪念性、仪卫性,装饰性等特点;从文化传统来说,文化传承,宗教、偶像崇拜,丧葬、风水观等深层次的原因决定了汉代与罗马的纪念雕塑在目的、功能、审美都有所不同,不同的文化形态为雕塑从数量,规模,形式提供了因循的文化规范:从社会阶层结构来说,罗马的市民阶层是城市的主体,纪念雕塑不仅是统治者调节社会的一种手段,也是市民的一种自觉需要,而在汉代,统治阶级是社会的主体,包括私营工商业者、耕者和佣工、仆役等平民没有成为汉代城市政治文化的中心阶层,也没有类似罗马市民的公共生活,所以也没有出现象罗马那样为一般市民服务的城市公共建筑设施和城市公共雕塑艺术的高度繁荣和发
Around the first century, Han Dynasty of China of both ends of things of civilized area of Eurasia, the kingdoms of Rome all made higher achievement in commemorating sculptures, but it commemorate city of the sculpture getting public but speech, the two have enormous differences. In Rome , commemorate sculptures are put in great environment of the whole city mainly, the organic connection takes place with other public places , and commemorated in Han Dynasty sculptures mostly depended on various kinds of grave buildings , it is commemorative sculpture art of the subject to form the mausoleum sculpture , lack the public characteristic of city of commemorating the sculpture like Rome, there is relation closely extremely with Rome and urban function , religious culture , social stratum's structure , cultural exchanges of this period of Han Dynasty in this. By the look of urban construction pattern, the opening of the city of Rome is public, humanity has determined commemorative sculptures in Rome are mostly set up in the public buildings of the city, form intact urban cultural landscape, the military affairs in the capital were defensive in Han Dynasty, such nature characteristics as strict social estate system and emperor's Miyagi ,etc. make the majority commemorate the sculpture often depends on the grave building to combine with nature, have commemorative , appearance defending , such characteristics as the decorating ,etc; By the look of cultural tradition, cultural continuity, the religion , idolatry, funeral, geomantic omen view ,etc. profound reason determine Han Dynasty in the purpose , function , aesthetic and different to some extent with the commemorative sculpture of Rome, different culture shapes are a sculpture from the quantity, scale , the form has offered the cultural norm carried on as usual; By the look of social stratum's structure, the
citizen of Rome stratum is the main body of the city, commemorate the sculpture is not only a kind of means that the ruler regulates the society , but also one kind of citizens' needs consciously, but in Han Dynasty, the ruling class is the main body of the society, including such common people as the private merchant, persons who plough and servant, servant ,etc. have not become the centre stratum of the political culture in the city of Han Dynasty , not similar to the public life of citizens of Rome either, have urban public buildings facility served general citizen like Rome to appear and city public sculpture art highly prosperous developing either; By the look of cultural exchanges, Rome and though Eurasia two strong civilization kingdoms in Han Dynasty, but there are no extensive cultural exchanges , has kept each independent culture developing basically, in economy, politics, culture, the religion, geographical environment exists under the situation of the enormous difference, has all created the unique commemorative sculpture design respectively. Implant Han Dynasty on different cultural background , sculpture art , Rome of kingdom both ends pay brightness set each other off in Eurasia, have establish the foundation and move towards for the artistic development of sculpture between east and west, has represented the artistic charm of the culture between east and west. Commemorate sculptures from different social values through the representative Han Dynasty of Chinese and Western culture and Rome, cultural function, art form carry on diversified and multi-level comparison, thus know the formal difference that exists of art of sculpture between east and west of this specific period, getting deeply to the research of the essential connection of cultural intension between east and west, the sculpture in China is educated to totally introduce the education system of the western sculpture, today when artistic historiography of the western sculpture becomes Chinese sculpture theoretical research subject, no matter in the theoretical research, or the nationalized road to consider the contemporary sculpture of China has a realistic meaning in creating practice.
Around the first century, Han Dynasty of China of both ends of things of civilized area of Eurasia, the kingdoms of Rome all made higher achievement in commemorating sculptures, but it commemorate city of the sculpture getting public but speech, the two have enormous differences. In Rome , commemorate sculptures are put in great environment of the whole city mainly, the organic connection takes place with other public places , and commemorated in Han Dynasty sculptures mostly depended on various kinds of grave buildings , it is commemorative sculpture art of the subject to form the mausoleum sculpture , lack the public characteristic of city of commemorating the sculpture like Rome, there is relation closely extremely with Rome and urban function , religious culture , social stratum's structure , cultural exchanges of this period of Han Dynasty in this. By the look of urban construction pattern, the opening of the city of Rome is public, humanity has determined commemorative sculptures in Rome are mostly set up in the public buildings of the city, form intact urban cultural landscape, the military affairs in the capital were defensive in Han Dynasty, such nature characteristics as strict social estate system and emperor's Miyagi ,etc. make the majority commemorate the sculpture often depends on the grave building to combine with nature, have commemorative , appearance defending , such characteristics as the decorating ,etc; By the look of cultural tradition, cultural continuity, the religion , idolatry, funeral, geomantic omen view ,etc. profound reason determine Han Dynasty in the purpose , function , aesthetic and different to some extent with the commemorative sculpture of Rome, different culture shapes are a sculpture from the quantity, scale , the form has offered the cultural norm carried on as usual; By the look of social stratum's structure, the
citizen of Rome stratum is the main body of the city, commemorate the sculpture is not only a kind of means that the ruler regulates the society , but also one kind of citizens' needs consciously, but in Han Dynasty, the ruling class is the main body of the society, including such common people as the private merchant, persons who plough and servant, servant ,etc. have not become the centre stratum of the political culture in the city of Han Dynasty , not similar to the public life of citizens of Rome either, have urban public buildings facility served general citizen like Rome to appear and city public sculpture art highly prosperous developing either; By the look of cultural exchanges, Rome and though Eurasia two strong civilization kingdoms in Han Dynasty, but there are no extensive cultural exchanges , has kept each independent culture developing basically, in economy, politics, culture, the religion, geographical environment exists under the situation of the enormous difference, has all created the unique commemorative sculpture design respectively. Implant Han Dynasty on different cultural background , sculpture art , Rome of kingdom both ends pay brightness set each other off in Eurasia, have establish the foundation and move towards for the artistic development of sculpture between east and west, has represented the artistic charm of the culture between east and west. Commemorate sculptures from different social values through the representative Han Dynasty of Chinese and Western culture and Rome, cultural function, art form carry on diversified and multi-level comparison, thus know the formal difference that exists of art of sculpture between east and west of this specific period, getting deeply to the research of the essential connection of cultural intension between east and west, the sculpture in China is educated to totally introduce the education system of the western sculpture, today when artistic historiography of the western sculpture becomes Chinese sculpture theoretical research subject, no matter in the theoretical research, or the nationalized road to consider the contemporary sculpture of China has a realistic meaning in creating practice.
引文
1、《精神与情感—中西雕塑的文化内涵》胥建国 商务印书馆 2003年
2、《中外美术史大事对照年表》奚传绩编 江苏美术出版社 1987年
3、《希腊罗马美术》科尔宾斯等著 严摩罕译 人民美术美术出版社 1983年
4、《中国美术史—秦汉卷》王朝闻主编 人民美术出版社 2001年
5、《中西宗教与艺术》张育英主编 南京大学出版社 2003年
6、《中西美术比较》孔新苗 张萍著 山东画报出版社 2002年
7、《罗马晚期的工艺美术》[奥地利]A.李格尔著 湖南科学技术出版社 2001年
8、《中国雕塑艺术史》王子云著 人民美术出版社 1987年
9、《中国艺术的文化阐释》张延风 人民美术出版社 2003年
10、《孝与中国文化》肖群忠 人民出版社 2001年
11、《华夏审美风尚史 第三卷 大风起兮》王旭晓著 湖南人民出版社 1993年
12、《罗马文化》朱龙华 上海社会科学出版社 2003年
13、《中华文明史 第三卷 秦汉》中华文明史编撰委员会 北教育出版社 1994年
14、《中国古代城市规划文化思想》汪德华 中国城市出版社 1997年
15、《公共艺术的观念与取向》翁剑青 北京大学出版社 2002年
16、《汉代考古学概说》王仲殊 中华书局出版社 1986年
17、《先秦礼制研究》陈戌国 湖南教出版社 1991年
18、《中国审美文化史》仪平策 山东画报出版社 2000年
19、《俎豆馨香——中国祭祀礼俗探索》方光华 陕西人民教育出版社
20、《中国文化交流史五千年》第一卷 陈尚胜 世界知识出版社 2002年
21、《古道西风》林梅村 生活.读书.新知三联书社 2000年
22、《秦汉文化和华夏传统》祝瑞开主编 学林出版社 1993年
23、《西方现代艺术史》迈克尔.列维著 江苏美术出版社 1994年
24、《西方现代艺术史-绘画雕塑建筑》H.H.阿纳森 天津人民出版社 1995年
25、《西方美术风格演变史》萨拉.柯耐尔 中国美术学院出版社 1999年
26、《西方美学史概论》蔡仪主编 漓江出版社 1994年
27、《陈明达古建筑与雕塑史论》陈明达 文物出版社 1998年
2、《中外美术史大事对照年表》奚传绩编 江苏美术出版社 1987年
3、《希腊罗马美术》科尔宾斯等著 严摩罕译 人民美术美术出版社 1983年
4、《中国美术史—秦汉卷》王朝闻主编 人民美术出版社 2001年
5、《中西宗教与艺术》张育英主编 南京大学出版社 2003年
6、《中西美术比较》孔新苗 张萍著 山东画报出版社 2002年
7、《罗马晚期的工艺美术》[奥地利]A.李格尔著 湖南科学技术出版社 2001年
8、《中国雕塑艺术史》王子云著 人民美术出版社 1987年
9、《中国艺术的文化阐释》张延风 人民美术出版社 2003年
10、《孝与中国文化》肖群忠 人民出版社 2001年
11、《华夏审美风尚史 第三卷 大风起兮》王旭晓著 湖南人民出版社 1993年
12、《罗马文化》朱龙华 上海社会科学出版社 2003年
13、《中华文明史 第三卷 秦汉》中华文明史编撰委员会 北教育出版社 1994年
14、《中国古代城市规划文化思想》汪德华 中国城市出版社 1997年
15、《公共艺术的观念与取向》翁剑青 北京大学出版社 2002年
16、《汉代考古学概说》王仲殊 中华书局出版社 1986年
17、《先秦礼制研究》陈戌国 湖南教出版社 1991年
18、《中国审美文化史》仪平策 山东画报出版社 2000年
19、《俎豆馨香——中国祭祀礼俗探索》方光华 陕西人民教育出版社
20、《中国文化交流史五千年》第一卷 陈尚胜 世界知识出版社 2002年
21、《古道西风》林梅村 生活.读书.新知三联书社 2000年
22、《秦汉文化和华夏传统》祝瑞开主编 学林出版社 1993年
23、《西方现代艺术史》迈克尔.列维著 江苏美术出版社 1994年
24、《西方现代艺术史-绘画雕塑建筑》H.H.阿纳森 天津人民出版社 1995年
25、《西方美术风格演变史》萨拉.柯耐尔 中国美术学院出版社 1999年
26、《西方美学史概论》蔡仪主编 漓江出版社 1994年
27、《陈明达古建筑与雕塑史论》陈明达 文物出版社 1998年