摘要
良渚文化的玉器纹饰可分为两类因素和三个主题。两类因素,即以鸟纹为代表的自然崇拜因素和以神人兽面纹为代表的祖先崇拜因素,体现出两种主次不同的崇拜形式,在纹饰上它们表现为两种基本主题,同时它们又有机地结合在一起,形成一种更高层次的完整的崇拜主题形式。两类因素各自有着不同的源流。鸟祖崇拜在华东地区的新石器文化中具有悠久的传统,尤其在大汶口文化中得到充分发展,在良渚文化中仍有一定的表现。而以直系祖先崇拜为主要内涵的神权宗教,通过对氏族宗教的融合,在良渚文化中发展到极致,其以兽面纹为代表的宗教内涵和艺术传统对商周青铜文化有重大影响。
There are two factors and three subjects in the motif of jade articles of Liangzhu Culture. The two factors, a nature worship which bird designs express and an ancestor worship, indicate two worship fashions in different levels. They were two basic subjects of the motif. And they combined organically to a higher worship subject. The two factors had different sources. Bird worship had a long tradition in the Neolithic cultures in the eastern China and had developed highly in Dawenkou Culture, then went down to Liangzhu CulaLre. The theocratic religion which characterized the ancestor worship had developed extremely through integrating clan worships. Their religious belief and traditional art which the beast patterns expressed had influenced significantly bronze cultures in Shang and Zhon Dynasty.
出处
《南方文物》
2006年第1期49-55,共7页
Cultural Relics in Southern China
关键词
良渚文化
玉器纹饰
宗教信仰
Liangzhu Culture
motif of jade articles
religious belief
