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云南崖画以沧源崖画为代表,其绘画风格与手法在世界远古艺术遗迹中独树一帜。沧源类型崖画在云南境内分布广泛,它克、假莫拉、漾濞、永德红岩、匹河五湖等五处崖画,在创作技法上与之大体接近,从其崖画符号推断,创作人群处于穴居与地面居住并存时期,生产方式为狩猎、采集和畜牧并用,其社会显著特点还包括牛崇拜、生殖崇拜、自然崇拜的多样化等。据此,本文认为,这批崖画与沧源崖画约同时,产生于新石器时代。但其创作人群的族属问题,则仍然难于断定。
Yunnan cliff painting to Cangyuan cliff painting as the representative, the painting style and technique in the world of ancient art remains unique. Cangyuan types of cliff paintings in the territory of Yunnan is widely distributed, it grams, Mora, Yangbi, Yongde Hongyan, five rivers and horses across the five Cliff paintings, creative techniques with generally close to the cliff from the cliff to infer symbols, the creative crowd In the period of burrowing and living together with the ground, the mode of production is hunting, collecting and livestock husbandry. Its notable social features include the cow worship, reproductive worship and diversification of nature worship. Accordingly, this paper argues that these cliff paintings and Cangyuan cliff paintings at about the same time, resulting from the Neolithic Age. However, the ethnicity of their creative people is still hard to tell.