首页> 外文学位 >From Chu to Western Han: Re-reading Mawangdui (China).
【24h】

From Chu to Western Han: Re-reading Mawangdui (China).

机译:从楚到西汉:重读《马王堆》(中国)。

获取原文
获取原文并翻译 | 示例

摘要

Mawangdui (dated to ca. 168 BCE) is an excellent example of the recontextualization of the Chu classical past that took place in the Changsha region during the early Western Han period. Unlike the stereotypical image of Changsha as a leading center of Chu culture, it was the Western Han that saw the kingdom rising as the capital for the restoration of Chu art forms, including music, literature and visual arts. Nevertheless, the creators of the Mawangdui tombs did not intend a smooth transition from the Chu past. They asserted a strategic reorganization over the decorative, visual and conceptual remnants from the Chu antiquity, and exercised a vigilant re-creation that was utterly driven by their own imagination. It was their sensitive mediation between a faithful adoption of Chu convention and a passion for innovation that inspired the original production evidenced by the Li family tombs.; My research establishes three types of cultural heritage that were kept alive in the Changsha kingdom during the second century BCE. The first is a strong Jiangling tradition which had been consistently influential in the Changsha area from the mid-fifth to the fourth centuries BCE. In addition, a large portion of the creative force from Jiangling migrated to the south around the beginning of the third centuries BCE due to the pressure of the Qin invasion in 278 BCE. The second was a Hunan local tradition that had developed in parallel to the Jiangling style during the fourth and the third centuries BCE. The last was a cultural shift conditioned by Qin preferences. My dissertation concludes with a critical analysis of the T-banner and casket designs from Tomb No. 1 in Mawangdui and reveals how the Changsha artists orchestrated various elements from these traditions into a pictorial program that was artistically cohesive and conceptually complex.
机译:马王堆(约公元前168年)是西汉初期在长沙地区发生的楚族古典历史的重新关联的一个很好的例子。与长沙作为楚文化的主要中心的陈规定型形象不同,是西汉把王国崛起为恢复楚艺术形式(包括音乐,文学和视觉艺术)的首都。然而,马王堆墓的创造者并不打算从楚过去顺利过渡。他们主张对楚国古代的装饰性,视觉和概念性残余物进行战略性重组,并在自己的想象力的驱使下进行了警惕的重新创作。正是他们在忠实采用楚族习俗与对创新的热情之间的敏感调解,激发了李氏家族陵墓所证明的原始生产。我的研究建立了公元前2世纪在长沙王国保存下来的三种文化遗产。第一个是强大的江陵传统,从公元前五世纪中叶到四世纪一直在长沙地区产生影响。此外,由于公元前278年秦国入侵的压力,很大一部分来自江陵的创造力都在公元前三世纪初左右迁移到南部。第二个是湖南的地方传统,在公元前四,三世纪与江陵样式同时发展。最后是一种文化转变,这种转变是由秦的偏好决定的。论文的最后对马王堆一号墓的T型横幅和棺材设计进行了批判性分析,并揭示了长沙艺术家如何将这些传统中的各种元素编排成具有艺术凝聚力和概念复杂性的绘画作品。

著录项

  • 作者

    Huang, Bingyi.;

  • 作者单位

    Yale University.;

  • 授予单位 Yale University.;
  • 学科 Art History.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 349 p.
  • 总页数 349
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;
  • 关键词

  • 入库时间 2022-08-17 11:41:22

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号