Memory In Haidai Area And Yangshao Cultural Current

At present,archaeological research has shifted from the establishment of cultural genealogy to the comprehensive restoration of ancient society,and studies on the spiritual or cognitive level and the style of early artworks has also become a necessary part of archaeological research.Painted pottery,as an art form that cannot be ignored in prehistoric creation activities,is very beneficial to the study of the aesthetic orientation and stylistics tradition of regional culture.This paper originated from the phenomenon of the sudden prosperity of the painted pottery in the later period of early Dawenkou culture,the combination of the factors of Miaodigou and the two kinds of ornamentation with local characteristics.With this as a cut-in point,geometric ornamentation has fixed and developed after the middle stage of Dawenkou culture,which is full of understanding of the local traditions in the early period and the previous local tradition,and is always in the cultural communication of various regions.The former foundation mainly analyzes the characteristics of stages or the connotation of a certain pattern,withought discussing the origin and aesthetic style of Haidai area's own culture under the external image of communication.In view of this,this article tries to make a certain interpretation on the basis of archeological demonstration and the theory of art history.The composition is divided into the following five parts:Part I:Introduction.Firstly,the paper clarifies the temporal and spatial scope of the background and other related concepts,and makes a brief introduction to the excavation of painted pottery of Haidai area.Then review its multi-disciplinary research history,to distinguish its gains and losses,leading to the purpose of this paper and research methods.Part two:Time.In this chapter,based on the clear position of stratigraphy and typology,the author combs the painted pottery unearthed in each site of Haidai area,and takes the posterior early stage of Dawenkou culture as the axis to make a diachronic development of the former and later works.Restoration of the Haidai region to the painted pottery process can be described like this:one is the narrative the wave of the Miaodigou cultural painted pottery,the other is the local memory traces under the cultural diffusion.Part three:Space.This chapter applies the concept of space in the study of art history to the study of painted pottery and integrates it at different levels of analysis.In turn,we discuss the two-dimensional plane,to the three-dimensional object space,then to the four-dimensional place and even the large regional space.The fixation point is moved from the isolated decorative pattern of painted pottery in chapter 2 to the relationship between the bearing plane,utensils,external space and regional communication,so as to connect and integrate the artistic characteristics and conditions of painted pottery in Haidai area.Part four:Style.In the last chapter of the main text we try to make a interpret of the aesthetic style of Haidai area.First,the case analysis of Guangrao Wucun was introduced to prove the local taste.Second,to understand the theme of painted pottery in Haidai area,and finally to conclude the visual form.Part five:Conclusion.We summarize the main points of this paper and points out the shortcomings.