摘要
所谓"兽面",是上古时代多种图案母题的一种统称。对其涵义的解释中,仅基于直接观察或简单对应的方法,显然有所不足。系统分析图案所在的社会,寻求母题与社会间的多种联系,是伴随考古学发展的更好的解释方法。虽然上古时代不同"兽面"母题之间有相似的构图特征,但它们的渊源根本不同,有自己的不同涵义。商代的"饕餮"是对祭祀场景的抽象表现,并使观者借以回想,良渚文化的"兽面"则主要源于对鸟的形象的神化。各种不同的"兽面"大多是服务于宗教目的的礼仪性图案母题,而宗教图案亦虚亦实的理念则可被不同时期的设计者所传承。
"Animal face"was a collective name for many motifs of images in the preQin period.In explaining for their implication,methods of direct observation or simple comparation were far insufficient Analyzing the society which the pattern"lived",and finding relationship between motifs and society,was a better way for explanation in the developing progress of archaeology.Although these"animal face"motifs had similar composition characters,they had different origins and implications.Taotie in dynasty were an abstract description for sacrifice scene,and it also made audiences recall it."Animal face"in Liangzhu Culture came from deification for bird.Most"Animal face"were ceremonial image motifs serving for religion.While the design concept between virality and reality for religion image was inherited by designers in different ages.
作者
郭明建
Guo Mingjian(History Department of Jinan University)
出处
《东方考古》
2019年第1期-,共13页
East Asia Archaeology
关键词
兽面
上古时代
社会
涵义
设计理念
animal face
pre-Qin period
society
implication
design concept
