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本文从美学、艺术学、文化人类学的角度对楚纹饰的表现对象、发生机制、深层内蕴进行了探讨。就表现内容而言 ,楚纹饰有自然形纹样和几何形纹样 ,其中又以龙纹、凤纹、鹿纹、圆涡纹、神灵鬼怪图案最富特色 ;从发生机制上而言 ,它乃是楚民族传统审美心理积淀的结果 ,与巫官文化有着极大的相关性 ,同时 ,它又是楚人对自身艺术经验的总结 ,对前人艺术经验的继承和创变的结果 ;从深层内蕴而言 ,楚纹饰“艺术———巫术一体化”现象是楚人生命意识的符码化形态 ,它复现了楚人的宇宙意识、生命意识、审美追求和浪漫情调
This article from the perspective of aesthetics, art studies and cultural anthropology explores the performance objects, the mechanism and the deep connotation of Chu decoration. In terms of performance, Chu pattern is decorated with natural patterns and geometric patterns, of which dragon pattern, phoenix pattern, deer pattern, circular pattern, ghosts and gods pattern is the most characteristic; from the mechanism of speaking, it is The result of the accumulation of the traditional aesthetic psychology of the Chu nationality has great relevance to the culture of Wu Guan officials. At the same time, it is also the result of the Chu people’s summing up their own artistic experiences and the inheritance and creation of their previous artistic experiences. On the one hand, Chu decoration “art --- integration of witchcraft” phenomenon is the symbolic form of Chu people’s life consciousness, which reproduces the Chu people’s awareness of the universe, life, aesthetic pursuit and romance