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天津博物馆藏帆船纹铜鼓考 被引量:1
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作者 王朝辉 《四川文物》 北大核心 2019年第2期64-68,共5页
天津博物馆藏帆船纹铜鼓鼓面主晕包含三种纹饰,即十二芒太阳纹、帆船纹和鹭目组合纹饰。该鼓十二芒太阳纹是太阳纹体系中的成熟标志,其中蕴含了太阳崇拜、阴阳转化等思想哲理;第七主晕纹饰有别于游旗纹和抽象舞人纹,而帆船纹的特征及内... 天津博物馆藏帆船纹铜鼓鼓面主晕包含三种纹饰,即十二芒太阳纹、帆船纹和鹭目组合纹饰。该鼓十二芒太阳纹是太阳纹体系中的成熟标志,其中蕴含了太阳崇拜、阴阳转化等思想哲理;第七主晕纹饰有别于游旗纹和抽象舞人纹,而帆船纹的特征及内涵体现较为深刻,应予定名;鹭目组合纹饰呈阴阳互动之态,反映出"阴阳交易"的哲学观念。作为麻江型铜鼓的代表,该鼓的年代应在"南宋至晚清"的时间范围内,并非传统臆断的"汉代";而鼓面边缘四个对称的磨痕,应为硬槌敲击所致,其原始产地应为黔、桂、滇地域范围内的西南少数民族聚集区域。 展开更多
关键词 帆船纹 铜鼓 天津博物馆
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帆船纹吕氏镜小考 被引量:2
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作者 熊建华 《考古》 CSSCI 北大核心 2001年第10期73-77,共5页
The present paper deals with a sailboat design bronze mirror in the collection of the Hunan Provincial Museum and depicts its peculiar designs representing musicians seated on heel, fight with shield and sword, tiger ... The present paper deals with a sailboat design bronze mirror in the collection of the Hunan Provincial Museum and depicts its peculiar designs representing musicians seated on heel, fight with shield and sword, tiger show, ritual animals, ox butchering, mountain spirits, the Water Palace,and boat-rowing accompanied by drumbeats. The author believes that they reflect to a considerable extent the concepts of heaven, immortals and the nether world, as well as the custom of performing music,dances and acrobatics, and present distinctly the cultural tradition of South China. The mirror can be dated to the time between the mid and late stages of the Eastern Han and may have been produced in Hubei, Zhejiang or their surrounding areas. 展开更多
关键词 帆船纹吕氏镜 东汉 历史文化
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