摘要
马王堆1、3号汉墓出土的漆器共700余件,是目前发现的汉代漆器中数量最多、保存最完好的一批。漆器的大量出现和使用,表明代表权力与地位的笨重的青铜器被精巧的漆器取代,结束了它作为特定时代审美文化载体的使命。漆器在传承和变异中建构了汉初故楚特有的审美风尚,表现出汉初崇尚实用与审美完美结合的特点。
Mawangdui Tomb Ⅰ,Ⅲ unearthed seven hundred pieces of best preserved lacquers,which is the largest number of lacquers found in Han Dynasty.The emergence and the use of lacquer manifests that the heavy bronze ware,which represented rights and social status,was replaced by sophisticated lacquer and ended its particular mission as a carrier of aesthetic culture in that era.By inheriting and changing the aesthetic fashion before Han Dynasty,the lacquer constructed a unique aesthetic fashion of early Han Dynasty,embodying the perfect combination of practical and aesthetic culture in that era.
出处
《黄石理工学院学报（人文社科版）》
2010年第6期51-53,共3页
Journal of Huangshi Institute of Technology:Humanities and Social Sciences
基金
湖北省教育厅科研重点项目"楚文化器物审美研究"(项目编号:D200622009)
湖北省社科基金项目"楚文化出土文物的审美研究"(项目编号:[2007]115)
关键词
马王堆
漆器
审美文化
Mawangdui Tomb
lacquer
aesthetic culture
