| Summary: | 碩士 === 臺南藝術學院 === 藝術史與藝術評論研究所 === 93 === Abstract
This paper mainly discourses developments of the Dou Censer and the Boshanlu by two aspects, one is the difference between form and materials, and the other is the vessels with function from utility to decoration. With considering the different patterns on the vessels, one may not take the Dou Censer necessarily to be the prototype of the Boshanlu. Two types of the Dou Censer could be developed parallel initially, and then two types of the Boshanlu were established, whom reversely influenced the final forms of the Dou Censer.
The paper also focuses on the evolution of form and styles of the Boshanlu itself, and further examines the effect of the assertions which the origin of the Boshanlu as a result of the emergence of the Divine Imagery. Through the view of different pattern choices, except iconographical meaning, the decorative function which is also the aesthetic demand of the Boshanlu, cannot eliminate from the beginning of design. Therefore, it still needs to discuss the emergence of the Boshanlu, whether by given connection with the Divine Imagery, or received attraction of new decoration style outside the territory. By scrutinizing form and styles, this paper will confirm decorative and iconographical meanings were the beginning and the end of the evolvement of the Boshanlu.
First chapter includes motivation, purpose and methods of my study. Second chapter describes archeological distribution of the Dou Censer and the Boshanlu, showing the growth or the declination of four types among regions. Third chapter focuses on geometrical decoration and development of Cloud-Dragon patterns of the Dou Censer, and different mountain patterns of the Boshanlu. Usage of the patterns were based on different functions such as practice or decoration, and the emergence of the mountain patterns were the result of modifying and reediting traditional Cloud-Dragon patterns. Fourth chapter discuss the roles of the censer. Through excavation reports and archaeological remains,
explains how the Boshanlu from the utensils as the Dou Censer, became one of the ritual vessels. Fifth chapter concerns both historical texts and archeological discoveries, examining if there was difference between texts and designs for seeking multi-interpretations of the iconography. Final chapter concludes the interaction between function and form, and the symbols which the Dou Censer and the Boshanlu may present.
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