图像、生态与神话的交织意义——以玛雅艺术为例  

The Interwoven Meanings of Imagery、Ecology and Myth:ACase Study of Maya Art

作　　者：徐荣蓉 吴思佳 韩欣怡 Xu Rongrong;Wu Sijia;Han Xinyi(School of Art Nantong University,Nantong 226019,China)

机构地区：[1]南通大学艺术学院,江苏南通226019

出　　处：《艺术与设计（理论版）》2024年第12期123-125,共3页Art and Design

基　　金：国家社会科学基金一般项目资助“中美洲萨波特克墓室壁画宗教图像研究”(项目编号22BZJ005)。

摘　　要：全球化的浪潮下,传统的西方艺术史结构逐渐向更为多元、平等的全球艺术模式转变。这种转变不仅影响了世界艺术史的叙述方式,而且逐渐打破了以西方艺术历史发展为中心的固有观念。中华文明和玛雅文明同为世界上历史悠久的古文明,同为农耕文明起源。在中国,后稷被尊奉为“农神”;而在玛雅文明中,玉米神则占据着至关重要的地位。这两个古文明中的农业神祇不仅代表了农业的繁荣,更是各自国家或酋邦稳定的精神内核。玛雅文明丰富的艺术传统为我们理解“全球艺术”模式的多样性和共通性提供了宝贵的遗产。文章通过对玛雅玉米神图像及内涵这一跨文化视角的研究,经图像与文本的对照反映人类对自然界和生命循环的认知,对于重塑全球性、跨文化和跨媒介的全球艺术史具有重要的推动作用。Under the wave of globalization,the traditional structure of Western art history is gradually transforming into a more diverse and egalitarian model of global art.This transformation not only affects the narrative of world art history but also gradually dismantles the ingrained concept centered around the historical development of Western art.Chinese civilization and Maya civilization are both ancient civilizations with long-standing histories,originating as agrarian cultures.In China,Hou Ji is revered as the"God of Agriculture,"while in Maya civilization,the Maize God holds a crucial position.The agricultural deities in these two ancient civilizations not only symbolize agricultural prosperity but also serve as the spiritual core of stability for their respective states or chiefdoms.The rich artistic traditions of the Maya civilization provide valuable heritage for understanding the diversity and commonalities of the"global art"model.Through the cross-cultural perspective of the imagery and meaning of the Maya Maize God,and by comparing imagery with text,this study reflects humanity's perception of the natural world and the cycle of life,playing an important role in reshaping a global,cross-cultural,and cross-media art history.

关 键 词：玛雅文明 玉米神 图像 神话 

分 类 号：J18[艺术—艺术理论]