仰韶文化半坡类型鱼纹分类及其在庙底沟类型中的演变  

Classifications of the Fish Pattern in Ban-po Phase of Yangshao Culture andIts Evolution in Miao-di-gou Phase

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

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

出　　处：《贵州大学学报（艺术版）》2023年第3期55-65,共11页Journal of Guizhou University Art Edition

基　　金：2019年度国家社科基金艺术学项目“中国史前陶器纹饰的母题和谱系研究”(项目编号:19BH153)。

摘　　要：半坡鱼纹可以划分为单体鱼纹、联体鱼纹、复体鱼纹和分体鱼纹等四个类别。但有趣的是,这一母题在其后继文化庙底沟类型中却不太多见,能够续接半坡者不仅数量有限,而且其中一部分通过演变逐渐融入庙底沟最为习见的鸟纹之中。由鱼变鸟,纹饰演变体现出不可思议的一面。庙底沟先民不遗余力地改造对半坡人而言具有象征意义的鱼纹,这一过程反映出史前社会可能正在经历一次观念和意识的巨大转变。The fish patterns in Ban-po phase can be divided into four categories:single-fish pattern,multiple-fish pattern,compound fish pattern with human face,and split-fish pattern.However,it is interesting to note that this fish motif is not common in Miao-di-gou phase as its successive culture.Not only is there a rarity of the fish pattern in phase with Ban-po,but also the pattern gradually integrated into the most common bird pattern in Miao-di-gou phase through evolution.The evolution of patterns from the fish to the bird reflects an incredible aspect in prehistoric culture.The ancestors of Miao-di-gou spared no effort to transform the fish pattern that is symbolic for Ban-po people,which reflects that prehistoric society maybe underwent a huge transformation in concepts and consciousness.

关 键 词：由鱼到鸟 纹饰演变 观念转型 母题研究 

分 类 号：J228[艺术—美术]