摘要
崧泽玉器作为一个独立的玉文化,主要有饰玉和葬玉,它上承河姆渡、马家浜文化玉器,下接良渚文化玉器,形成了一个层累的系列。崧泽先民在玉料的选择上注重饰玉的典雅色泽和纯洁质地,注重葬玉的神秘表象;在玉器造型的设计中深受现实生活中的朴素原型和冶玉技艺之道的影响,考虑所造玉器的使用功能和佩带部位等因素。在此基础上,崧泽玉器形成了自己独特的艺术风格,主要表现为生命意识、柔美风格和整体意识。
As an independent jade cultural stratum, Songze jade ware mainly contains decorative jade and buried jade. Connecting He Mu Du and Ma Jia Bang cultural jade carving to Liangzhu jade ware, Songze jadeware has evolved a set of accumulative series. Songze ancient people paid more attention to decorative jade's elegant, luster, pure quality and buried jade's mysterious representation in the jade's material choice. Simple prototype in real life and technical skill to carve jade deeply influences Songze jade carving's design and shape. The factors of body's part to wear jade ware and its usage function were seriously considered. Based on this, Songze jade ware has formed its own unique artistic style which concludes life consciousness, aesthetic style and whole consciousness.
出处
《安徽教育学院学报》
2007年第2期119-122,共4页
Journal of Anhui Institute of Education
基金
国家社科基金项目(04BZX060)
关键词
崧泽玉器
表象
仿生
风格
Songze jad-ware
idea
bionics
style