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兽面纹在中国曾被用于青铜、玉、石、骨、象牙、陶、木等器物,后又施于金、银、漆器以及绘画。这篇短文不拟介入当前有关中国古代文物制作中纹饰的用途的争论。将这些文物视为单纯的装饰物,或者视为有深刻意义的象征,都非我意想所及。生活在今天的我,不能企望测知商代艺术家或其主顾的心思。熟知我不断反对宣称中国艺术受西方象征主义影响的读者,会猜到我大概倾向于那一面。我要在这篇短文里提出的见解,与我经多年观察所得的一点有关,即中国古代以一定材料进行创作的艺术家,常能创造出同以其他手段创作者不一样的图象。青铜器上的兽面,有别于玉雕家或骨雕家做成的兽面,这是用陶范铸造与在玉石上雕琢的技术方面
Animal face pattern in China has been used for bronze, jade, stone, bone, ivory, pottery, wood and other artifacts, and then applied to gold, silver, lacquer and painting. This essay does not intend to intervene in the current debate about the use of ornamentation in ancient Chinese artifacts. It is not my intention to regard these artifacts as mere ornaments or as symbols of profound significance. I live in today, can not expect to measure the Shang Dynasty artists or their customers thinking. I am constantly opposed to readers who claim that Chinese art is influenced by Western symbolism and will guess what I tend to be. The views I want to make in this essay relate to what I have learned from many years of observation that artists in ancient China who created materials with certain materials often create images that are different from those created by other means. Beast bronze on the surface, different from the jade carving or bone carvings made of animals, which is used to cast Fan Tao and jade carved in the technical aspects