论文部分内容阅读
本文考察十多件殷商时期中原青铜器上的象纹,区分有立姿和行进姿两型。经仔细比较和讨论中原象纹与南方象尊的造型和细节表现,本文推断中原的立姿象纹,源自南方青铜艺术传统,而行进型象纹则是中原匠人在南方原型基础上所做的革新创作。本文还利用青铜铸造工艺专家有关殷商青铜技术存在着南方因素的最新研究成果,来支持文中提出的关于晚商中原青铜器象纹来源于南方的论点。本文进一步列举西周初象纹的变形化倾向,来说明中原商周时期缺乏野象分布的事实。
This article examines more than a dozen pieces of iconography on the bronze ware of the Central Plains during the Shang period of Shang Dynasty, distinguishing between standing posture and running posture. After careful comparison and discussion of the shape and details of the Central Plains and the South Aspect, this paper concludes that the Central Plains’ vertical strokes originated from the Southern bronze art tradition, while the traveling-like lines are made by the Central Plains artisans based on the southern prototype Innovative creation. This paper also makes use of the latest research results of bronze casting technologists on the existence of southern factors in Shang bronze technology to support the argument put forth in the paper that the bronze artifacts of the Central Plains in the late Shang Dynasty originated from the south. This article further enumerates the tendency of the deformation of the imagery in the early Western Zhou Dynasty to illustrate the fact that there is a lack of wild elephants during the Shang and Zhou dynasties in the Central Plains.