作　　者： ;

机构地区： 中共广东省委党校

出　　处： 《内蒙古大学艺术学院学报》 2004年第2期3-11,共9页

摘　　要： 从岩画的发生来看 ,主要是两方面动机 ,一是状物认知的 ,一是巫术通灵的。说前者趋向写实犹可 ,后者则完全是冥想的、神话式的。而且巫术岩画应是早期岩画最具代表性者。即使是状物认知的岩画 ,在造型上也非今日写实概念可牢笼。那时岩画中的动物带着作者丰富的感官性和主体生命强力的投入 ,表现粗犷 ,可用今天写意传神观之。故而 ,中国岩画造型在早期乃是写意性的 ,中间经过简化嬗变为抽象性的 ,最后经过程式化积累走向图案性与装饰性。 There are two kinds of motivations for the creation of petrous pictures: one is the recognition of the shape of things and the other is the magic spirit. The former tends to be realistic and the latter is completely a meditation and can be mythology. And the magic petrous pictures are the real representation of the early works. Even the pictures describing the shape of the things can not completely understood with today's realistic concepts. The animals in the pictures at that time express the author's rich sensitivity and the strength of life that can be regarded as abstract description. Therefore, the early Chinese petrous pictures were concentrated on the meaning and later were simplified into abstract meaning and finally they have accumulated their patterns and the function of decoration.

关 键 词： 中国岩画 造型 写意 简化 图案

领　　域： [艺术]