青铜文化考
摘要
艺术是人类的本能之一。文明和艺术往往相伴而生。艺术是人类文明成长的土壤。青铜器的出现是人类文明发展史上的重要标志之一。中华民族曾经凭着灿烂的青铜文化向世界展示华夏文明高度的统一性和独立性。
大约从公元前2000年左右,中国的青铜时代经历了夏、商、周和春秋时代,共约十五个世纪。用青铜制成的器物表面青灰,质地坚硬,外表在给人浑然大气的感觉的同时又能让人很明晰的感受它的细致精美。这些特性使青铜器一经问世便得到广泛而迅速的传播,成为当时奴隶制文明的物质载体。晚商和早周,青铜文化的发展达到了高峰,当时华夏民族高超精湛的青铜冶铸工艺所生产的青铜器,形成了一股势不可挡的文化大潮,至今仍然澎湃在世人心中。
本文从青铜文化入手,对这种物质文化做出技/F:性的探讨和综合研究,将青铜文化中的技术性因素及其技术美的表现从艺术设计的角度做分析和归纳以达到为现代设计服务的目的。这是由于在现代设计中,我们常常会去思索“传统”与“现代”的含义以及两者如何更好的结合。同时在设计中,“技术”和“艺术”的如何共存也是一个实际的问题。中华民族古代灿烂的青铜文化,正好为我们思考这两个问题提供了一个很好的平台。在十五个世纪漫长的时间里,中国的青铜文化从萌芽到发展到衰退都是沿着一条独特的脉络进行的。在我们这个文化日益趋于大同的时代里,这种独特性是我们这个处于设计摸索阶段的民族所急需的。
本文对青铜冶炼铸造工艺的研究正是从“传统”的精华出发,依靠一种我们所共有的文化,心理结构和语言形式,来让技术和艺术在现代的设计中结合得更完美。
Art is an inherent instinct of human being, the origin of Art is just the origin of the culture. All the other spirits is growing in it. The coming forth of the bronze is one of the important symbols of culture. The early Chinese culture has already declared itself highly oneness and complete independence. One of the best example is the Culture of Bronze.The age of bronze in china was started in about BC 2000.It has gone through the Xia D-, the Shang D- and the Zhou D- in about 15 century. Late in the Shang D- and Early in the zhou D-, the foundry industry of bronze has reached the top of its development. Late in the ZhanGuo D-, the foundry industry of bronze has declined. Of the time, the culture of bronze that created by Chinese people, who invented the lofty technics of foundry, is like a shining star in the continent of Asia.Early days, Chinese bronze has did not effect much on people's life and the society industry. But their appearance showed us that an new matter form was coming into being in late Stone Age. Because of abundance of the mineral resources of copper, and the knowledge and experience which came from the ceramics, foundry of bronze has grown into an industry of the time. Bronze is exquisite and strong, and the noble of the time loves it, so culture of bronze has rapidly spreaded abroad after the Xia D-.it has became the carrier of the culture of matter of the time, and finally formed a great system of civilization and culture.This article starts with the culture of bronze, make all-around probe into it and meticulous general research on it. This article is trying to analyzing and concluding the technical factor and the technical beauty in culture of bronze, so that it could be brought to bear in modern design. Concept of "tradition" and "modern" is very broadly; "technology" and "art" can not exist without actual actions. The great culture of bronze has offered us a superexcellent base to thinking about the two questions. The sprouting, developing and declining of Culture of bronze has formed the Bronze Age of China. This culture has its unique complete independence, and the
independence was badly needed in our country, especially in this age that all the cultures are being same. This article is trying to start at the "distillate of tradition", depend on the "same base of our culture" and "unique mentality form and language modality", so that technology and art can combine perfectly, and our design can be more modernistic.
大约从公元前2000年左右,中国的青铜时代经历了夏、商、周和春秋时代,共约十五个世纪。用青铜制成的器物表面青灰,质地坚硬,外表在给人浑然大气的感觉的同时又能让人很明晰的感受它的细致精美。这些特性使青铜器一经问世便得到广泛而迅速的传播,成为当时奴隶制文明的物质载体。晚商和早周,青铜文化的发展达到了高峰,当时华夏民族高超精湛的青铜冶铸工艺所生产的青铜器,形成了一股势不可挡的文化大潮,至今仍然澎湃在世人心中。
本文从青铜文化入手,对这种物质文化做出技/F:性的探讨和综合研究,将青铜文化中的技术性因素及其技术美的表现从艺术设计的角度做分析和归纳以达到为现代设计服务的目的。这是由于在现代设计中,我们常常会去思索“传统”与“现代”的含义以及两者如何更好的结合。同时在设计中,“技术”和“艺术”的如何共存也是一个实际的问题。中华民族古代灿烂的青铜文化,正好为我们思考这两个问题提供了一个很好的平台。在十五个世纪漫长的时间里,中国的青铜文化从萌芽到发展到衰退都是沿着一条独特的脉络进行的。在我们这个文化日益趋于大同的时代里,这种独特性是我们这个处于设计摸索阶段的民族所急需的。
本文对青铜冶炼铸造工艺的研究正是从“传统”的精华出发,依靠一种我们所共有的文化,心理结构和语言形式,来让技术和艺术在现代的设计中结合得更完美。
Art is an inherent instinct of human being, the origin of Art is just the origin of the culture. All the other spirits is growing in it. The coming forth of the bronze is one of the important symbols of culture. The early Chinese culture has already declared itself highly oneness and complete independence. One of the best example is the Culture of Bronze.The age of bronze in china was started in about BC 2000.It has gone through the Xia D-, the Shang D- and the Zhou D- in about 15 century. Late in the Shang D- and Early in the zhou D-, the foundry industry of bronze has reached the top of its development. Late in the ZhanGuo D-, the foundry industry of bronze has declined. Of the time, the culture of bronze that created by Chinese people, who invented the lofty technics of foundry, is like a shining star in the continent of Asia.Early days, Chinese bronze has did not effect much on people's life and the society industry. But their appearance showed us that an new matter form was coming into being in late Stone Age. Because of abundance of the mineral resources of copper, and the knowledge and experience which came from the ceramics, foundry of bronze has grown into an industry of the time. Bronze is exquisite and strong, and the noble of the time loves it, so culture of bronze has rapidly spreaded abroad after the Xia D-.it has became the carrier of the culture of matter of the time, and finally formed a great system of civilization and culture.This article starts with the culture of bronze, make all-around probe into it and meticulous general research on it. This article is trying to analyzing and concluding the technical factor and the technical beauty in culture of bronze, so that it could be brought to bear in modern design. Concept of "tradition" and "modern" is very broadly; "technology" and "art" can not exist without actual actions. The great culture of bronze has offered us a superexcellent base to thinking about the two questions. The sprouting, developing and declining of Culture of bronze has formed the Bronze Age of China. This culture has its unique complete independence, and the
independence was badly needed in our country, especially in this age that all the cultures are being same. This article is trying to start at the "distillate of tradition", depend on the "same base of our culture" and "unique mentality form and language modality", so that technology and art can combine perfectly, and our design can be more modernistic.
引文
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[2] 朱寿康,《科技史文集》第13辑,上海科学技术出版社。
[3] 朱光潜,《西方美学史》,人民文学出版社,1979版。
[4] 周纬,《中国兵器史稿》,三联书店,1957年版。
[5] 中央美术学院美术史系中国美术史教研室编著,《中国美术简史》,高等教育出版社,1990版。
[6] 张子中,《商代青铜文化与身体直接感觉》,求是学刊,1999.02。
[7] 张子中,《对商代青铜文化的再认识》,东方论坛,1999.01。
[8] 张云,《丝路文化·吐蕃卷》,浙江人民出版社,1995年版。
[9] 张光直,《中国青铜时代》,三联书店出版社,1999年版。
[10] 张光直,《商代文明》,北京工艺美术出版社,1999年版。
[11] 杨菊华,《汉代青铜文化概述》,中原文物,1998.02。
[12] 杨建华,《冀北周代青铜文化初探》,中原文物,2000.05。
[13] 许平,《造物之门》,陕西人民美术出版社,1998年版。
[14] 王受之,《世界现代设计史》,新世纪出版社,2001版。
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[17] 苏荣誉、卢本珊、李克敏、华觉明,《先秦金属技术》,山东科学技术出版社。
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[20] 彭锋编著,《美学的意蕴》,中国人民大学出版社,2000版。
[21] 聂振斌、滕守尧、章建刚,《艺术化生存》,四川人民出版社,2001版。
[22] 马世之,《中原楚文化研究》,湖北教育出版社,1995年7月版。
[23] 马承源,《中国青铜器》,上海古籍出版社,1991版。
[24] 刘迎胜,《丝路文化·草原卷》,浙江人民出版社,1995年版。
[25] 刘恩元,《贵州古代青铜冶铸工艺技术研究》,中国科技史料,2002.04。
[26] 凌业勤等编写,《中国古代传统铸造技术》,科学文献出版社,1987年版。
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[28] 李泽厚,《美的历程》,文物出版社,1981年版。
[29] 李砚祖,《造物之美》,中国人民大学出版社,2001年版。
[30] 李学勤,《中国青铜器概说》,外文出版社,1996版。
[31] 李东琬,《吉金集》,天津杨柳青画社,1993版。
[32] 李伯谦,《商周青铜器艺术的光彩》,神州学人,1995.04。
[33] 蒋廷瑜,《铜鼓史话》,文物出版社,1982年版。
[34] 黄河、詹七一,《开启与指归:云南青铜文化的美学总结》,民族艺术研究,2003.04。
[35] 华觉明,《中国古代的叠铸技术》,《中国冶铸史论集》,文物出版社,1986年版。
[36] 河南出土商周青铜器编辑组,《河南出土商周青铜器》,文物出版社,1981年版。
[37] 何人可,《工业设计史》,北京理工大学出版社,1991年版。
[38] 郭宝钧,《商周铜器群综合研究》,文物出版社,1981年版。
[39] 高宗裕,《云南民族民间工艺美术概说》,装饰,1998.04。
[40] 杜遒松,《中国古代青铜器简说》,书目文献出版社,1984年版。
[41] 杜乃松,《青铜器鉴定》,广西师范大学出版社,1993版。
[42] 陈伟,《狞厉之象 镇凶扬威——论商周青铜文化的前美学性质》,上海师范大学学报(哲学社会科学版),1995.04。
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[44] 北京钢铁学院《中国冶金史》编写组,《中国冶金简史》,科学出版社,1974年版。
[45] 安金槐,《中国考古》,上海古籍出版社,1991年版。
[46] 《考工记》
[47] 日本精密铸造会编,《失蜡铸造法》,1957年版。
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[2] 朱寿康,《科技史文集》第13辑,上海科学技术出版社。
[3] 朱光潜,《西方美学史》,人民文学出版社,1979版。
[4] 周纬,《中国兵器史稿》,三联书店,1957年版。
[5] 中央美术学院美术史系中国美术史教研室编著,《中国美术简史》,高等教育出版社,1990版。
[6] 张子中,《商代青铜文化与身体直接感觉》,求是学刊,1999.02。
[7] 张子中,《对商代青铜文化的再认识》,东方论坛,1999.01。
[8] 张云,《丝路文化·吐蕃卷》,浙江人民出版社,1995年版。
[9] 张光直,《中国青铜时代》,三联书店出版社,1999年版。
[10] 张光直,《商代文明》,北京工艺美术出版社,1999年版。
[11] 杨菊华,《汉代青铜文化概述》,中原文物,1998.02。
[12] 杨建华,《冀北周代青铜文化初探》,中原文物,2000.05。
[13] 许平,《造物之门》,陕西人民美术出版社,1998年版。
[14] 王受之,《世界现代设计史》,新世纪出版社,2001版。
[15] 仝晰纲,《青铜的战神,齐鲁兵家文化研究》,学林出版社,1999.12。
[16] 谭德睿编著,《灿烂的中国古代失蜡铸造》,上海科技文献出版社,1989年版。
[17] 苏荣誉、卢本珊、李克敏、华觉明,《先秦金属技术》,山东科学技术出版社。
[18] 彭适凡,《江西商周青铜器铸造技术》,《科技史文集》第9辑,上海科学技术出版社,1982年版。
[19] 彭吉象,《艺术学概论》,北京理工大学出版社,1994年版。
[20] 彭锋编著,《美学的意蕴》,中国人民大学出版社,2000版。
[21] 聂振斌、滕守尧、章建刚,《艺术化生存》,四川人民出版社,2001版。
[22] 马世之,《中原楚文化研究》,湖北教育出版社,1995年7月版。
[23] 马承源,《中国青铜器》,上海古籍出版社,1991版。
[24] 刘迎胜,《丝路文化·草原卷》,浙江人民出版社,1995年版。
[25] 刘恩元,《贵州古代青铜冶铸工艺技术研究》,中国科技史料,2002.04。
[26] 凌业勤等编写,《中国古代传统铸造技术》,科学文献出版社,1987年版。
[27] 李泽厚,《华夏美学》,安徽文艺出版社,1999版。
[28] 李泽厚,《美的历程》,文物出版社,1981年版。
[29] 李砚祖,《造物之美》,中国人民大学出版社,2001年版。
[30] 李学勤,《中国青铜器概说》,外文出版社,1996版。
[31] 李东琬,《吉金集》,天津杨柳青画社,1993版。
[32] 李伯谦,《商周青铜器艺术的光彩》,神州学人,1995.04。
[33] 蒋廷瑜,《铜鼓史话》,文物出版社,1982年版。
[34] 黄河、詹七一,《开启与指归:云南青铜文化的美学总结》,民族艺术研究,2003.04。
[35] 华觉明,《中国古代的叠铸技术》,《中国冶铸史论集》,文物出版社,1986年版。
[36] 河南出土商周青铜器编辑组,《河南出土商周青铜器》,文物出版社,1981年版。
[37] 何人可,《工业设计史》,北京理工大学出版社,1991年版。
[38] 郭宝钧,《商周铜器群综合研究》,文物出版社,1981年版。
[39] 高宗裕,《云南民族民间工艺美术概说》,装饰,1998.04。
[40] 杜遒松,《中国古代青铜器简说》,书目文献出版社,1984年版。
[41] 杜乃松,《青铜器鉴定》,广西师范大学出版社,1993版。
[42] 陈伟,《狞厉之象 镇凶扬威——论商周青铜文化的前美学性质》,上海师范大学学报(哲学社会科学版),1995.04。
[43] 曹献民,《云南青铜器铸造技术》,《云南青铜器论丛》,文物出版社,1981年版。
[44] 北京钢铁学院《中国冶金史》编写组,《中国冶金简史》,科学出版社,1974年版。
[45] 安金槐,《中国考古》,上海古籍出版社,1991年版。
[46] 《考工记》
[47] 日本精密铸造会编,《失蜡铸造法》,1957年版。
[48] 休·昂纳、约翰·弗莱明,《世界美术史》,国际文化出版公司,1989年版。
[49] 埃利希·奥尔巴赫,《维柯与美学历史主义》载《文学理论和历史》(英),曼彻斯特大学出版社,1984年版。
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