记忆与遗忘:基于演化论视域下古滇青铜器物造型中的文化融合现象阐释  

Memory and Forgetfulness:Explanation of Cultural Fusion in the Modeling of Ancient Dian Kingdom Bronze A rtifacts from the Perspective of Evolutionism

作　　者：谭人殊[1] 万凡[1,2] Tan Renshu;Wan fan(the School of Designat Yunnan Arts University;Guangzhou Academy of Fine Arts,Kunming,Yunnan,650500)

机构地区：[1]云南艺术学院设计学院 [2]广州美术学院视觉文化研究中心,云南昆明650500

出　　处：《民族艺术研究》2023年第2期137-147,共11页Ethnic Art Studies

基　　金：2020年度云南省哲学社会科学艺术科学规划重点项目“云南翡翠雕刻工艺体系构建研究”(项目批准号:A2020ZS01)的阶段性研究成果。

摘　　要：以古滇青铜器物为研究对象,基于演化论的视域来探讨其造型中所蕴含的文化融合特征。文化是群体共识所应具备的复杂性特质,“开放性环境”和“非平衡性地域发展”是文化传播的基本前提。青铜器物中的造型手法、工艺技术、观念形态,体现了“精神文化”自觉对于“文化基因”构建的重要意义。古滇的原生文化“主体”和从外界涌入的异域文化“客体”之间,对青铜器物的创作空间展开了长时间的“种间竞争”经由“生态位分化”,并最终趋于“协同”的过程,实则也代表了“主体”的决策与取舍。在此过程中,“物质文化”部分遭到了选择性的遗忘,而“精神文化”部分却得以记忆和传续,新一轮的基因融合就此实现,而这也正是“协同创新”的意义所在。Taking ancient Dian Kingdom bronze artifacts as the research object,this paper explores the feature of cultural fusion contained in their shapes from the perspective of evolutionism.Culture is a complex trait that a group consensus should possess,at the same time,“open environment”and“unbalanced regional development”are the basic premises for cultural transmission.The modeling techniques,craftsmanship,and conceptual forms in bronze artifacts reflect the significance of“spiritual culture”awareness in the construction of“cultural genes”.Between the original culture“subject”in ancient Dian Kingdom and the foreign cultural“object”from the outside,there is a long period of“interspecific competition”in the creation space of bronzes artifacts.Through the process of“eco-niches differentiation”,this eventually became a“synergy”trend,which actually represents the final decision of the“subject”.In this process,the“material culture”part has been selectively forgotten,while the“spiritual culture”part has been memorized and inherited,resulting in a new round of gene fusion,which is precisely the significance of“collaborative innovation”.

关 键 词：文化遗产 文化融合 古滇青铜器物 造型 演化论 

分 类 号：J506[艺术—艺术设计]