“近取诸身”:三星堆造型艺术之身体意蕴探析  

“Inspiration form Our Own Bodies”:Analysis on the Body Implication of Sanxingdui Plastic Art

作　　者：李灿垠 陈彦汐 LI Canyin;CHEN Yanxi(Sichuan Normal University,Chengdu 610066,China)

机构地区：[1]四川师范大学,四川成都610066

出　　处：《扬州教育学院学报》2025年第1期69-74,共6页Journal of Yangzhou College of Education

摘　　要：三星堆造型艺术虽发端于先祖崇拜、图腾信仰与自然神灵观念等宗教语境,却在器物造型、艺术特色之处绽露出属人的身体意蕴与自由的身体意识。就器物造型而言,青铜大立人像、纵目人面像与眼型器物、青铜兽面具与人身鸟爪行足人像均呈现出身体的元素。就艺术特色而言,写实、夸张、变形等手法均蕴含着身体的表达。其身体性的造型艺术源自古蜀先民寓于世界的身体性存在,既按照身体的基本形态、内在尺度及理想意欲来铸造器物,又将身体视作宗教世界里神人交通的媒介。Although the plastic art of Sanxingdui originated from religious contexts,such as ancestor worship,totem belief,and the concept of natural deities,it reveals the human-related body implications and free body consciousness in the shapes of artifacts and artistic features.In terms of artifact shapes,the elements of a human body can be found in the large Bronze Standing Figure,the Bronze Mask with protruding eyes and eye-shaped utensils,as well as animal masks and figures with a human body and bird claws.As for artistic features,techniques such as realism,exaggeration,and deformation all contain the expressions of a body.The bodily nature of this plastic art stems from the bodily existence of the ancient Shu people in the world,who cast artifacts according to the basic forms,internal scales,and ideal desires of the body,and also viewed the body as a medium for communication between gods and humans in the religious world.

关 键 词：三星堆 器物 造型艺术 身体 身体美学 

分 类 号：K876.4[历史地理—考古学及博物馆学] J526.1[历史地理—历史学]