生存的渴望与艺术审美的知觉——花山岩画的艺术人类学探析

花山岩画作为壮族先人精神的外化物,包含着在原始宗教和巫术思维共同支配下形成的一种祈求生存的愿望,显示出人类艺术诞生的源泉和情感动力与人类原初的生命崇拜意识之间密切的联系;花山岩画是壮族先民与不可抗拒的宇宙自然进行的亲近与交融,是壮族先民在长期和大自然、土地、山川打交道中感情与感悟的积淀,由此产生出的"天人合一"的审美性质;花山岩画中描绘的女性身影是男性对内在和外在现实作出的有效认知,潜藏着传统文化对于女性的定位,体现了男权社会对女性的塑造与规约.

The Aspiration of Existence and Perception of Art Aesthetics——Art Anthropologic Exploration of the Flower Mountain Petroglyph

The flower mountain petroglyph is the expression of the spirit of Zhuang nationality forefather,conveying their desire for survival formed by the combination of primitive religion and sorcery thought,demonstrating the close connection between the source of art and emotional driving force and human's original adoring consciousness of life.Through the mountain petroglyph,ancient people of Zhuang nationality were close to and mingled with the inextricable universe.Therefore,petroglyph is the deposit of Zhuang people's emotions and perception in the long-range contact with Nature,land,mountains and rivers;resulting in the aesthetic theory that man is an integral part of nature;the female person's silhouette described in petroglyph reflects male's effective cognition of the internal and external reality,where female is orientated by traditional culture,embodying the male-dominating society's molding and stipulation to the female.