由物象到寓象:楚式青铜鼎文化基因的鼎新与守俗  

The Transformation from Object to Allegory:the Innovation and Traditions of the Chu Bronze Tripod Culture Gene

作　　者：郑杨硕[1] 王浩琪 段灵婧 

机构地区：[1]武汉理工大学艺术与设计学院

出　　处：《创意与设计》2024年第2期95-101,104,共8页Creation and Design

基　　金：巴楚艺术发展研究中心开放基金项目(2023-BCYS-03)。

摘　　要：楚式青铜鼎作为楚国造物艺术的典型代表,蕴含着楚文化的深厚内涵,继承与延续着楚文化基因。本文基于文化结构层次理论对楚式青铜鼎进行“物象、法象、寓象”的结构梳理,尝试总结“鼎新”与“守俗”的楚文化基因,并从“意象创新”与“制度僭越”的角度进行阐释。通过构建一个全面、多元、特色的楚文化知识体系逻辑框架,为楚式青铜鼎的研究和传承提供了理论基础。As a typical representative of Chu's art of bronze wares,the Chu bronze tripod embodies the profound connotation of Chu culture and inherits the cultural genes of Chu.Based on the theory of cultural structure theory,this paper systematically analyzes the structure of the Chu bronze tripod in terms of"object,method,and allegory",and attempts to summarize the cultural genes of"innovation"and"tradition"in Chu culture,and interpret them from the perspectives of"innovation in imagery"and"violation of norms".By constructing a comprehensive,diverse,and distinctive logical framework of Chu culture knowledge system,this paper provides a theoretical basis for the study and inheritance of Chu bronze tripod.

关 键 词：楚文化 楚式青铜鼎 文化层次理论 文化基因 

分 类 号：K876.41[历史地理—考古学及博物馆学]