摘要
以古滇青铜器物为研究对象,基于演化论的视域来探讨其造型中所蕴含的文化融合特征。文化是群体共识所应具备的复杂性特质,“开放性环境”和“非平衡性地域发展”是文化传播的基本前提。青铜器物中的造型手法、工艺技术、观念形态,体现了“精神文化”自觉对于“文化基因”构建的重要意义。古滇的原生文化“主体”和从外界涌入的异域文化“客体”之间,对青铜器物的创作空间展开了长时间的“种间竞争”经由“生态位分化”,并最终趋于“协同”的过程,实则也代表了“主体”的决策与取舍。在此过程中,“物质文化”部分遭到了选择性的遗忘,而“精神文化”部分却得以记忆和传续,新一轮的基因融合就此实现,而这也正是“协同创新”的意义所在。
Taking ancient Dian Kingdom bronze artifacts as the research object,this paper explores the feature of cultural fusion contained in their shapes from the perspective of evolutionism.Culture is a complex trait that a group consensus should possess,at the same time,“open environment”and“unbalanced regional development”are the basic premises for cultural transmission.The modeling techniques,craftsmanship,and conceptual forms in bronze artifacts reflect the significance of“spiritual culture”awareness in the construction of“cultural genes”.Between the original culture“subject”in ancient Dian Kingdom and the foreign cultural“object”from the outside,there is a long period of“interspecific competition”in the creation space of bronzes artifacts.Through the process of“eco-niches differentiation”,this eventually became a“synergy”trend,which actually represents the final decision of the“subject”.In this process,the“material culture”part has been selectively forgotten,while the“spiritual culture”part has been memorized and inherited,resulting in a new round of gene fusion,which is precisely the significance of“collaborative innovation”.
作者
谭人殊
万凡
Tan Renshu;Wan fan(the School of Designat Yunnan Arts University;Guangzhou Academy of Fine Arts,Kunming,Yunnan,650500)
出处
《民族艺术研究》
2023年第2期137-147,共11页
Ethnic Art Studies
基金
2020年度云南省哲学社会科学艺术科学规划重点项目“云南翡翠雕刻工艺体系构建研究”(项目批准号:A2020ZS01)的阶段性研究成果。
关键词
文化遗产
文化融合
古滇青铜器物
造型
演化论
cultural heritage
cultural fusion
ancient Dian Kingdom bronze artifacts
modeling
evolutionism
