摘要
在中国传统绘画中,牛作为善良、敦厚、勤劳的审美对象,已成为艺术家乐于表现的题材。不同民族、不同时代都赋予"牛"以特殊的象征意义和审美内涵。文章从牛的原始意象、民俗形象和审美意象三个角度分析了牛在中国传统文化中的视觉意味的流变。在审美意象中,牛逐渐被画家赋予极强的道德意味,它作为正面的道德形象被讴歌、赞颂。具体而言,牛的形象从巫术图示的价值逐渐成为民俗吉祥符号;对牛的一再描绘又为后世画家提供了良好的范本,进而成为纯粹的审美表现对象。纯粹的笔墨意味和作为精神意味的牛常常成为一种互文。牛形象意味的转换过程,也显现了一个特定艺术形象在中国美术史上的建构过程。
In traditional Chinese drawings, cattle has been regarded as kind, honest and industrious, and has been the favorite theme of artists. Different nations bestowed various symbolism and aesthetic connotations to cattle. This thesis analyzes the changes of the images of cattle in traditional Chinese cultures from three aspects, namely, original image, folk image and aesthetic image. In terms of its aesthetic image, cattle has gradually been attached moral elements, and has been praised for its positive features. The image of cattle has transformed from a voodoo icon into a auspicious symbol,which provides an excellent model for successive artists. Intertextuality has been formed by cattle ＇s literal and spiritual images.
出处
《南通大学学报（社会科学版）》
CSSCI
北大核心
2015年第2期83-87,共5页
Journal of Nantong University:Social Sciences Edition
关键词
牛
巫术
民俗
审美
cattle
voodoo
folk
aesthetics
作者简介
王立民（1966-），男，安徽潜山人，安庆师范学院美术学院副教授。
