早期宗族图像的视像结构的建构与转向研究  

A studyon the construction and turn of the visual structure of early clan imagery

作　　者：程万里[1] CHENG Wan-li

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《东南大学学报（哲学社会科学版）》2023年第5期111-121,148,共12页Journal of Southeast University(Philosophy and Social Science)

基　　金：国家社科基金艺术类重点项目“中国祭祀图像的历史重构”(20AF008)阶段性成果。

摘　　要：早期宗族图像不是一种审美形式,也缺少装饰功用与意味,其始终与巫术、祭祀活动等密切相关,并且随着人类文明程度的增加以及亲族群的政治性的需要越来越强调礼仪规范在视觉形式化时的秩序。这样一个没有任何事件描述倾向的图像模式更强化了图像描述对象的神圣感——是否能够引发敬意成为制像者首先考虑的效果——也成为后世祖宗像的范型宗旨。视觉层位的累进,包含的也许不仅仅是一种习惯或者制像模式,尤其对人神秩序、宗族的社会秩序的视觉表达在以后岩画、器物画、墓葬壁画的营构中达到极致,按照一套经过规划的秩序——在社会层次结构中所对应的位置——被加以安排,无关乎某个特定时间、特定空间、特定对象的瞬间情景或是特指物象的有序演变过程。Early clan imagery was never used merely for decorating objects or living spaces.Its development did not evolve into a purely aesthetic form.Instead,it remained closely linked to practices such as witchcraft and ritual activities.With the advancement of human civilization and the increasing political needs of kinship groups,the emphasis on ceremonial norms in visual formalization became more pronounced.This imagery pattern,devoid of any inclination toward narrative description,heightened the sacredness of the depicted objects.The possibility to evoke reverence became the foremost consideration for the creators of these images,and eventually the purpose for ancestral images in later times.The progressive arrangement of visual hierarchies may contain more than habitual or iconic patterns.The visual expressions of the divine-human order and the social order of clans reached their pinnacle in the later rock paintings,object paintings,and tomb mural constructions.These were meticulously arranged according to a planned order that corresponds to positions within the social hierarchical structure,so this arrangement was detached from any specific moment,space,or individual,or from the linear development of specific objects.

关 键 词：宗族图像 视像结构 祖先崇拜 礼 

分 类 号：K87[历史地理—考古学及博物馆学] J120.9[历史地理—历史学]