论文部分内容阅读
春秋时期是我国玉璜发展演变史上一个承前启后的重要阶段,此期玉璜的形制、纹饰既有早期对商周同类器特征的承袭,又有中晚期完全不同于传统玉璜特征的巨大变革创新。终春秋一代,玉璜形构、纹饰打破了商周同类器讲究“象生”、“整形”组合和平面雕的特征,首开完整物象肢解成局部形构后组图抽象化、符号化、浮雕立体化的先河,形成纹饰繁缛精细、构图丰盈饱满的时代新风,将传统玉璜制作、装饰的工艺水平推向了一个新高度。同时,由于诸侯列国政治、经济、文化领域内的不断变革和治玉工艺技法的创新进步,亦形成了不同诸侯国间玉璜制作风格特色、工艺水平的区域性差别,为其后战国时代玉璜的发展繁荣步入精工巧雕、标新立异、纷繁多变的鼎盛期奠定了物质、技术基础。
Spring and Autumn Period is an important stage in the history of the development and evolution of Yuhuang in our country. The shape and decoration of Yuhuang during this period inherit both the characteristics of the same classics of the Shang and Zhou dynasties as well as the great changes and innovations that are completely different from those of the traditional jade . In the end of the Spring and Autumn Period, the jade decoration and decoration of the jade ornaments break the similarities and differences between Shang and Zhou Dynasty about the features of “elephant life”, “plastic” combination and plane carving, Symbolic, embossed three-dimensional precedent, the formation of fine ornamentation complex, rich and powerful composition of the new era of the wind, the traditional jade Juan production, decoration technology to a new level. In the meantime, due to the continuous changes in the political, economic and cultural fields of princely nations and the innovation and progress in the art of jade processing, a distinctive regional difference has also been formed between the styles and craftsmanship of jade ornaments in different vassal states. Huang’s development and prosperity into the Seiko Qiao carving, unconventional, numerous changes in the heyday laid the material and technical basis.