商周青铜器饕餮纹的文化原型  

Cultural Prototype of Taotie Pattern on Bronze Wares in Shang and Zhou Dynaties

作　　者：黄厚明[1] 

机构地区：[1]南京艺术学院科研处,江苏南京210013

出　　处：《南京艺术学院学报（美术与设计）》2009年第1期21-27,59,共8页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家哲学社会科学基金课题艺术学项目<商周青铜器纹样研究>(项目编号07CF65)中期成果之一

摘　　要：由于"名"与"实"的矛盾,饕餮纹的原型及其寓意问题一直困惑着学界。本文针对这一现状,重新检讨了饕餮纹的"名实"问题及其图像分类原则,并尝试将贡布里希"图式与改良"理论运用到饕餮纹的风格分析中。研究表明:饕餮纹是一种结构的存在,它以龙纹、鸟纹、日纹等主要图像元素为基础,按照身、面、顶饰等不同位格进行简化、变形、转化、替代和重组,形成一个具有人格属性的复杂图像系统。这一结论廓清了学界长期以来将其视为"兽面纹"的原型误读,为重新认识中国早期艺术和思想提供了契机。The questions of taotie pattern’s prototype and implied meaning keep puzzling the academic field because of the contradiction between its ‘name’ and ‘fact’. According to the current situation, this thesis reviews the problem of the ‘name’ and ‘fact’, as well as the classification principle of the images, and tries to make use of Gombrich’s theory of ‘scheme and correction’ for interpretating the styles of taotie pattern. The research conclusion is: as an stuctural existion, taotie pattern treats patterns of dragon, bird, sun, etc. as the basic image elements, through simplifying, transforming, turning, replacing and restructuring the bodies, faces and head decorations, they form the complicated image system with human quality. The conclusion corrects the long-last misunderstanding about the prototype of taotie pattern in the academic field, and provide a chance for recognizing early Chinese art and thinking.

关 键 词：饕餮纹 兽面纹 良渚神像 

分 类 号：J309[艺术—美术]