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西汉时期的着衣式木臂俑以着衣、木臂的造型特点,不同于其他的俑。其中汉阳陵数量最多,最具有代表性。本文通过研究它的象征内涵,从宏观和微观两方面分析其表达媒材,从而探讨它的历史地位。笔者通过研究发现,汉阳陵着衣式木臂俑以其象征意义为主要制造目的,表达方式独树一帜,它相比西汉之前的俑在象征内涵及媒材上更加深化。而西汉之后,俑的象征意义被削弱了,更加注重美的形式。因此,它不仅是俑以象征功能为表达目的一个新的高度,同时也代表着其发展史上的一个转折点。本文的目的在于提供一种视角,即对俑的研究是无法脱离墓葬本身的,微观器物的研究必须有一个宏观的视野。
During the Western Han Dynasty dress-style wooden figurines to dress, wooden arm styling characteristics, different from other figurines. Hanyang which the largest number of the most representative. By studying its symbolic connotation, this article analyzes its media of expression from macroscopic and microcosmic perspectives to explore its historical status. The author through the study found that the Han Yangling dress cloned figurines with its symbolic significance as the main purpose of manufacture, expression is unique, it compared to the Western Han Dynasty in the symbolic connotation of the symbolic and media further deepen. After the Western Han Dynasty, the symbolism of the figurines was weakened, paying more attention to the form of beauty. Therefore, it is not only a symbol of the function of figurines for the purpose of expressing a new height, but also represents a turning point in the history of its development. The purpose of this article is to provide a perspective that the study of the figurines can not be divorced from the tombs themselves. The study of the micro objects must have a macroscopic view.