内蒙古区域岩画的图像造型及文化寓意

【作者】 刘瑛；

【导师】 郑元者；

【作者基本信息】 复旦大学 ， 艺术人类学与民间文学， 2012， 博士

【摘要】 内蒙古区域的岩画遗存有万幅以上,目前对于岩画的研究大多以发掘为主。但是如何阐释岩画画面中动物图像与人像之间的关系,岩画遗存的年代几乎不可考证,而蒙古高原上又存在过太多的族群,那一个族群与岩画遗存之间的关系最密切,同时,寻找哪一种途径进行阐述更加符合岩画图像本身的相关情境?因此,在本论文中尝试直接面对岩画图像本身,依据大量岩画图像的对比,通过岩画图像的刻画技巧、画面构图、艺术风格来阐释岩画图像所隐含的文化寓意,以及这些文化寓意对于蒙古族精神文化的影响。运用内蒙古区域相关的考古学材料将岩画放置在一个相对合理的情境中,在史料及民族传统传说1(有关起源、祖先等传说)中寻找岩画图像本身的文化寓意,并做出相对合理的阐释。同时,依据岩画图像本身的情境相关性给予岩画图像不同的排列、分类,探讨在岩画中动物图像与人像之间的各种关系转变,并依据岩画中动物图像与人像在画面中不同关系的转变,将内蒙古区域岩画遗存动物图像与人像之间的崇拜、融合、控制的关系展示出来,并尝试在这些关系中寻找岩画遗存的传播、延续等内涵。只希望通过本论文使内蒙古区域岩画的研究有一种新的视野,能够走得更远。在本论文的序言中,介绍了目前国内对于岩画遗存的研究现状,以及在目前的研究现状中存在的问题,主要是学者大多以现代视角探讨岩画的遗存,并未将内蒙古区域石器时代到青铜时代的整体考古文化与岩画图像很好的结合,忽视了岩画本身的情境相关性。因此,在序言中表达了本论文希望透过考古学、人类学、艺术学以及艺术人类学的方法去探讨岩画图像本身,并达到本论文研究的目的。论文第一章的内容分为三个部分,主要是将内蒙古区域岩画遗存之所以存在于这一区域的自然环境及社会环境进行阐述,包括内蒙古区域从石器时代到青铜时代的历史发展过程中,自然地理、社会人文等环境发生了怎样巨大的变化,而这种变化通过自然地理环境、考古文化及各类史料资料中所描述的情况展开。同时,就岩画遗存集中发现区本身所处的自然环境及分布特征进行详细阐述,将内蒙古区域岩画遗存存在的各类环境状态展现出来。本论文从第二章到第五章开始直接就岩画图像本身进行研究,首先是动物图像,内蒙古区域岩画中出现频率最多的动物是羊、马和鹿,而动物图像的研究中,依据图像使用的不同石器刻画的情况不同,将动物排序为鹿、马和羊,并通过图像本身的刻画技巧、画面构图、艺术风格进行阐述。其次是人面像,人面像作为一种媒介是沟通人与动物、人与自然万物、天体星辰的,而在内蒙古区域人面像最集中的区域是红山区域及曼德拉区域,而在本论文中选择了红山区域人面像进行研究,因为红山区域在考古文化材料中更详实且有连贯性,而红山人面像本身涵盖的文化内涵序列比较明显。再次是人像,人像相对于动物图像及人面像年代偏晚,尤其是骑者的出现证明马已经被驯服且成为坐骑,表明此时已进入公元前2000年之后。最后是动物图像与人像的组合图像,这类图像更多的是狩猎、围猎及放牧图像,表明在新石器晚期内蒙古社会的经济形态已经逐渐转为畜牧阶段,人与动物之间的关系已经由人对于动物的依赖、融合转为主动的控制动物方了。而各种不同的岩画图像同样通过其刻画技巧、画面构图、图像风格进行阐述,为图像所反映的文化寓意做好铺垫。第六章是前四章各类不同岩画图像的文化寓意展现,在本论文中对于文化寓意的阐述并未借用比较深奥的理论体系,而是就岩画图像本身来论述其不同图像所反映的不同文化寓意。试图在史料极少的情况下,运用考古发掘材料等尝试对于文化寓意进行阐释,在本章中虽然不免使用现有蒙古史材料,但力图不完全以现代人的眼光去看待岩画图像本身的文化寓意。首先,动物图像的文化寓意更多将岩画图像中动物所表现出的由个体到形成群体、群落等一系列生态系统的演化,在这种演化中,动物在岩画中扮演多重角色,以及动物在岩画中多重角色所表现的种群关系对于草原民族生存的意义。其次,人面像的文化寓意更多的表现人面像为何能够作为沟通人与自然万物的媒介存在。这种原始宗教信仰在内蒙古草原民族区域,是如何充当这一媒介的,对于内蒙古草原民族宗教内涵的意义为何。最后,人像和动物图像与人像组合的文化寓意将伴随着草原环境的变化以及人与动物之间关系的变化,而产生的在草原上各种人与动物之间的故事。第七章是探讨岩画图像的文化寓意所反映的蒙古族精神内涵,并以岩画中马形象为例进行阐述,马,在岩画图像中是一直存在的物种,人们在早期对于马的崇拜到之后马被驯服成为坐骑的过程在岩画中都有所反映,在岩画的大部分画面中也都会有马形象出现。同时,在草原民族长期与马的接触中,到蒙古族形成阶段,马已经是人们最亲密的伙伴,马文化已经成为蒙古人的主要民族文化了,因此本章对于马的艺术特征、马在蒙古族文化中的作用等等进行叙述,将马形象对于蒙古族文化精神内涵、族群意识等作用进行阐述。最后的结语部分,不仅仅是本论文所书写内容的结论部分,经过对大量岩画图像的整理、研究,本作者尝试对于岩画图像的大致年代进行分类,以及内蒙古区域岩画之间的延续及传播关系进行了探讨,将自己的拙见展示出来供大家参更多还原

【Abstract】 Tens of thousands pieces of rock painting remains have been found in Inner Mongolia area. At present, the excavation is the main research method of petroglyph. How to explain the relationship between the petroglyph of animal images and the portrait is a difficult problem. Petroglyph the age of the site is not verified. Is Mongolia plateau on the existence of many ethnic groups more closely related with the petroglyph? As a people in front of the ancestor left rock remains, I be aware of Mongolia nationality culture is important for today. This thesis attempts to directly face the rock paintings of the image itself. According to a large number of rock art image contrast, through rock art image description technique, composition, art style, to explain the petroglyph image implied cultural meaning, as well as the implication of culture to the Mongolia nationality spirit effect. At the same time, according to rock the image itself situational relevance, giving the petroglyph image of different alignment, on the rock of animal images with the portrait of the relationship between shift, as well as Inner Mongolia area rock remains between propagation, lasting relationshops. The purpose of the thesis is to promote the research on the rock painting in Inner Mongolia area.The prologue introduces the current research situation in China. Most scholars prefer the modern perspective rather than the combination of Stone Age and Bronze Age status. They also ignore the petroglyph environment correlation. Therefore, in the prologue, this paper wants to use a method including archaeology and anthropology of art and artistic fields of anthropology to study petroglyph, and to access the purpose.The first chapter includes three parts. The main content focuses on the natural and social environment of the Inner Mongolia area rock remains. It is about the tremendous changes of the geography and social humanities from the stone age to the bronze age. It also emphasizes on the natural environment and its distribution characteristics in detail, and exhibits the environmental state.The study from the second chapter to the fifth chapter is about the petroglyph images itself. The first object is the animal image. The sheep, horse and deer are the animals which occur most frequently. In the study of animal images, different images using different stone tools are used to describe. Deer and horse using chipped stone tools depict more pictures. Sheep is used of polished stone tools of depicting more pictures. Three animal species according to their characterization techniques, composition, image style three parts carries on the elaboration. The second object is the human face image. Human face image was considered as a communication medium and a bridge between man and animal, man and nature, man and God. Hongshan region and the Mandela region have the most human face picture on the rock. This paper chooses the Hongshan regional because the regional archaeological culture sequence comparison well, and human face pictures reflect the cultural connotation of coherence. Once again is a portrait. The third object is the portrait that appeared later than the animal and human face image. The horse has been tamed, and became mount not later than2000.BC. The combination between portrait and animal images is the last object that mostly showes hunting and herding. In the late Neolithic age, regional social economy of Inner Mongolia has turned to animal husbandry. According to the relation between human and animal, the human rely on fusion to active control. A variety of petroglyph images, all through its characterization techniques, composition style, image interpretation. For the image to reflect the cultural mean.The main content of the sixth chapter is about the different meaning of culture implied by the petroglyph images. In the paper, without using more profound theoretical system, the research on the cultural meaning of painting focuses on the image itself. The rock painting remains documented the history rarely. This paper uses the archaeological materials of rock paintings to interpret the cultural meaning. The Mongolia historic materials will be used frequently. However, the study will imply the cultural meaning of the image without modern perspective as far as possible. On the cultural meaning of animal images in animal form, form individual to community groups, such as a series of ecosystem evolution. In the evolution of animal, animal rock paintings in multiple roles, these rotes by the performance of the relationship of population to the prairie nationalities have important meanings to life. Secondly, like the face of cultural meaning, how to communicate with people and nature, is a media with Mongolia nationality religious significance. Finally, animal images and portrait combination of cultural meaning, accompanied by environmental changes, changes in the relationship between human and animal, have a different story.The seventh chapter mainly studies the petroglyph image cultural meaning and spiritual connotation of the relationship between Mongolia national. As an example, the horse is a petroglyph image that has been presented in the species. Early, the horse is a worship of Totem. Later, the horse tamed as a mount. In the Inner Mongolia area, most of the petroglyphs are horse image picture. In the Mongolia family, the horse became the most intimate partner. The horse culture has become the important national culture of Mongolia nationality. So this chapter mainly emphasizes on the art characteristics of horse in Mongolia ethnic culture and the spirit reflected from horse to the Mongolia nationality.The last part is the conclusion. The author tries to classify the approximate age of petroglyph images through the collation and research on a large number of rock art image, and to discuss the perpetuation and dissemination relations in the Inner Mongolia regions.更多还原