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在人类与鸟兽同居、“族与万物并”的“童年时代”,在一切尚初打破“混沌”之始的时代,人类对于他们周围的现实世界刚有所反映,但却对之不认识更不能理解,对自然的克服更是无力,于是,便产生了神、恶魔、奇迹之信仰,视万物皆有灵,人类在大自然的威胁下曲了双膝跪下并匍匐在地。原始宗教就这样产生了。翦伯赞先生认为: “原始的艺术因为建基于精神和肉体劳动尚未分离的社会经济基础上,所以它反映出来的现实社会的内容就更为逼真、更为透明”。先人们就在制作生活、生产器具的时候,不知不觉地将宗教信念糅合到其中,于是,也就有了原始的审美情趣,也就有了原始的灿烂的艺术而存在并延续下来。本栏目试图通过溯源清本的方式,给读者展示中华民族“宗教艺术”的辉煌成就,并从造型艺术的角度剖之,析之,以期对今天的艺术家和广大读者有所启迪。(本刊副主编 大唐)
In the era of “childhood” in which humans co-exist with beasts and animals and “family and all things are together”, in the era when the beginning of “chaos” was still broken, human beings have just reflected the real world around them but they do not know it Even less understandable, it is even more ineffective to overcome nature. As a result, gods, devils and miracles are believed to have all kinds of things, and human beings are kneeling and prostrate on the ground under the threat of nature. The original religion was born. Mr. Bozan said: “The original art is based on the socio-economic foundation in which the spiritual and physical labor have not yet been separated, so the content of the real society it reflects is more realistic and transparent.” First people in the production of life, production equipment, unwittingly blend religious beliefs into it, so there will be the original aesthetic taste, it will have the original splendid art and continue. This column attempts to show readers the glorious achievements of the “religious art” of the Chinese nation through traceability and clear texts. From the perspective of plastic arts, we analyze and analyze it, with a view to inspiring today’s artists and readers alike. (Deputy editor Datang)