中国早期玉雕的固定化表现方式

Immobilized Expression in Early Chinese Jade Carving

中国玉雕艺术发端早,持续性强。早期的玉雕作品即显示出较高的艺术创作水平和审美意识形态,其在发展中积淀,逐步形成了对后世影响深远的表达定式。本文着眼于中国早期玉雕中纹饰、造型的固定化表现方式,望对拓宽当代玉雕设计思维,强化中国玉雕传统特征有所助力。在本文中,笔者搜罗、分析了从史前到东周时期的玉雕作品材料,按人、龙、鸟、兽等四大类玉雕母题的划分,主要从符号化纹饰和范式化造型这两方面总结了不同母题玉雕各自的固定化表现方式:(1)早期鸟纹常凸显鸟喙的象征作用,将尖喙当做最具代表性的鸟类元素,以局部替代整体。此外,鸟翅翎纹主要是通过两种简化形式呈现,一类是螺旋纹加平行线纹的组合,另一类是抽象的羽纹。(2)早期龙纹的固定化表现形式包括龙首纹的造型范式,即上吻外卷前凸,下吻内卷回勾。另还有在继承中演变的龙身鳞纹,从商代的重环纹到战国的花朵型纹,均是龙鳞纹在不同时期的变形。(3)早期兽面纹体现了在面部造型结构上的固定,虽然细部特征不断变化,但整体的布局一以贯之,即始终以贯连的眉部和鼻部为分割线,眉部横切,鼻部至底,将面部空间分割为三个部分(上额及两颊),双目紧贴鼻端两旁,强调对称感。(4)早期人面纹具有共性化且不可或缺的造型元素,表现为在不同时期,人面纹的面型、五官均具有类同的特征。在凸显神人身份时则主要是通过夸张的冠饰来呈现。

Chinese jade carving art started early and had a strong persistence. Early Chinese jade carving showed a high level of artistic creation and aesthetic ideology. It accumulated during the development, and then gradually formed immobilized expression which has a pro-found effect on later generations. This paper focuses on the immobilized pattern and shape in ear ly jade carvings, hoping to broaden the contemporary jade carving design thinking and strengthen the traditional characteristics of Chinese jade carving art. The author collected and analyzed the materials of jade carvings from prehistoric to eastern Zhou Dynasty, summarized the immobilization modes of different motifs of jade carvings from the aspects of symboliza-tion pattern and stylized shape. There are four categories of jade carving motif including hu-man, dragon, bird and beast; （1 ） Early bird pattern often highlights the role of a bird^s beak. The beak is considered as the most representative bird element to replace the entirey. In addition, feathers on the wing are often presented in two main simplified forms. One is a combination of spiral pattern plus parallel lines, the other is abstract feather patterns. （2） The immobilized expression of early dragon pattern includes the modeling paradigm of drag-on^ s head pattern. That is , the upper lip rolls outwards？ the lower lip curls inward. The im-mobilized expression also reflected in dragon body scales, which evolved in succession. From the double ring pattern of the Shang Dynasty to the flower pattern of the warring states peri-od, it was the deformation of the dragon scales pattern in different periods. （3） The early beast face pattern is reflected in the fixation of facial plastic structure. It reflects the fixation on the facial plastic structure. Although the details are constantly changing, the overall lay-out is consistent. That is , always with the eyebrow and the nose as the dividing line, eyebrow crosscutting, nose through to the bottom, the facial space is divided into three parts （ forehead and two cheeks ） , the eyes close to the nose side, emphasizing the sense of symme-try. （4）The early facial pattern has the universal and indispensable modeling elements, which is characterized by the similar characteristics of facial shape and facial features in different pe-riods. In highlighting the identity of the god-man, it is mainly through the exaggerated crown.