陶器时代中国文化艺术中的触觉性  

Tactility in Chinese Culture and Art in Pottery Age

作　　者：林少雄 LIN Shao-xiong

机构地区：[1]上海大学上海电影学院,上海市200072

出　　处：《南京大学学报（哲学．人文科学．社会科学）》2023年第4期66-75,160,共11页Journal of Nanjing University(Philosophy,Humanities and Social Sciences)

基　　金：国家社会科学基金重大项目(16ZDA173)。

摘　　要：陶器时代为我们保留了大量关于触觉的文化“文本”,它们不仅构成了中国史前艺术研究的对象,同时也促成了中国早期华夏审美意识的发生,由此也引发了人们关于中国史前艺术“触觉”问题的思考。在陶器时代,人的触觉认知方式不断得以凸显,手成为触觉重要的认知器官;陶器的材质、工艺、器型、纹饰及功能等方面,都具有鲜明的触觉特质;彩陶的绘制工具、纹饰、器型、功能,也都具有触觉特质。触觉与触觉性问题的提出及其探讨,为中国文化的观察与思考,提供了视觉认知之外一种较为独特的视角、路径、观念或方法,因而有可能获得对中国艺术与美学的全新体认。The pottery age has preserved a large number of cultural"texts"about tactility,which not only serves as the subject of prehistoric Chinese art research,but also contributes to the emergence of early Chinese aesthetic consciousness.This in turn has led to contemplation on the issue of tactility in prehistoric Chinese art.Specifically,in colored pottery,the cognitive mode of tactility is continuously highlighted,with the hand becoming a crucial tactile organ for touch.The material,craftsmanship,shape,ornamentation and functionality of pottery all exhibit distinct tactile characteristics.Additionally,the tools,ornamentation,shape and functionality in the creation of colored pottery also possess tactile qualities.The exploration and discussion of tactile issues offer a unique perspective pathway,concept,method for observing and contemplating Chinese culture beyond visual cognition,thereby potentially providing a fresh understanding of Chinese art and aesthetics.

关 键 词：陶器时代 彩陶 触觉性 触觉思维 中国文化 史前艺术 中国美学 

分 类 号：J527[艺术—艺术设计] TQ174.1[化学工程—陶瓷工业] B83-092[化学工程—硅酸盐工业]