谈马家窑文化半山和马厂类型陶器中的神人纹  

The Immortal Images on the Pottery of Banshan Type and Machang Type of Majiayao Culture

作　　者：王立夫 周侠 WANG Lifu;ZHOU Xia(School of Fine Arts,Taizhou University,Taizhou 225300,China;School of Foreign Languages,Taizhou University,Taizhou 225300,China)

机构地区：[1]泰州学院美术学院,泰州225300 [2]泰州学院外国语学院,泰州225300

出　　处：《中国陶瓷》2023年第4期96-104,共9页China Ceramics

基　　金：2019年国家社科基金艺术学一般项目“中国史前陶器纹饰的母题和谱系研究”(批准号:19BH153)的阶段性研究成果。

摘　　要：半山和马厂时期巫师们装扮成“神”的样貌,模拟“神”的动作和语言,以舞降神,神人纹以降神的巫师为原型,由于降神活动涉及的内容非常广泛,因而,半山、马厂时期的神人纹在早阶段就具有不同的样式。经过五百余年的发展和演变,不仅神人纹本身呈现出非常丰富的表现形式,还衍生出诸如半山阶段的“毋”字纹,马厂阶段的“出”字纹和“■”字纹等新的母题。During Banshan Phase and Machang Phase,the sorcerers who were dressed up as"god"imitated gods'movements and languages to welcome the coming of the gods by dancing,so they were the prototype of the immortal images on the pottery.The seance involved a wide range of activities,therefore,the immortal images of Banshan Phase and Machang Phase had different styles at its early stage.After more than 50o years'development and evolution,the immortal images not only showed a rich form of expressions and but also derived some new motifs,such as“毋”pattern of Banshan Phase,“出”pattern and“卍”pattern of Machang Phase.

关 键 词：以舞降神 “■”形符号 “出”字纹 “毋”字纹 

分 类 号：J522[艺术—艺术设计]