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作 者:李园 陆建芳[2] Li Yuan;Lu Jianfang
机构地区:[1]中国地质大学(武汉)珠宝学院 [2]南京博物院
出 处:《南方文物》2024年第5期1-14,共14页Cultural Relics in Southern China
摘 要:本文认为良渚玉琮设计分为三组,即竖槽、以角为中心展开的图像和柱形器,且三者均是为了突出琮王中孔作为升天通道的重要功能,琮王上人与鸟的图像印证了中孔通往天门的重要意义;通过分析玉琮“节”的变化,认为良渚文化晚期的玉琮每一节既代表着一个辈分的祖先神,同时也表达天的层级。“节”的设计与变化主要在于服务琮的实际使用功能,进一步证实良渚玉琮是基于天地人神的观念、宗族及宗法社会制度所产生;良渚文化吸收并融合凌家滩等多种意识形态逐渐形成强势文化,后向苏北、长江、浙江南部三个方向对外传播,玉琮作为良渚最核心的观念礼器,所蕴含的思想理念在传播中被普遍接纳。良渚文化玉琮作为中华文明起源的标志,承载了丰富的历史和文化内涵,是中国传统文化最重要的精神符号。This article argues that the design of Liangzhu jade cong is divided into three groups:vertical grooves,images radiating from the corners,and the column-shaped objects.These elements all emphasize the importance of the central hole of the Cong King as a channel for ascending to heaven.The images of humans and birds on the Cong King further confirm the significance of this central hole as a gateway to heaven.Through the analysis of changes in the“sections”of jade cong,it is believed that in the late Liangzhu culture,each section not only represents an ancestral deity of a specific generation but also expresses the hierarchical structure of heaven.The design and variation of the“sections”primarily serve the practical function of the cong,further confirming that the Liangzhu jade cong was created based on concepts of heaven,earth,humans,and gods,as well as the clan and patriarchal systems of society.Liangzhu culture absorbed and integrated various ideologies,including those from Lingjiatan,gradually forming a dominant culture that spread outward in three directions:northern Jiangsu,the Yangtze River,and southern Zhejiang.As the most central ritual object of Liangzhu,the jade cong,along with its underlying philosophical ideas,was widely accepted during this dissemination.As a symbol of the origins of Chinese civilization,Liangzhu jade cong embodies rich historical and cultural connotations and stands as one of the most important spiritual symbols of traditional Chinese culture.
分 类 号:K876.8[历史地理—考古学及博物馆学]
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