發(fā)布時(shí)間：2018-06-17 08:13

  本文選題：腰帶裝飾藝術(shù)語意 + 氐羌族系�。� 參考：《昆明理工大學(xué)》2013年碩士論文

【摘要】：少數(shù)民族裝飾藝術(shù)與民族、族群及人類的生活環(huán)境發(fā)展息息相關(guān)。郭沫若說：“由服飾可以考見民族文化發(fā)展的軌跡和各兄弟民族間的互相影響,歷史生產(chǎn)方式、階級(jí)關(guān)系、風(fēng)俗習(xí)慣、文物制度等,大可一目了然,是絕好的史料�！毖鼛аb飾是服飾中的重要組成部分,它有著各民族不同的文化內(nèi)涵,展現(xiàn)特有的文化魅力與藝術(shù)表征。少數(shù)民族服飾中,腰帶作為服裝配飾,往往能夠較大程度的從形態(tài)、色彩,紋樣等方面體現(xiàn)出這個(gè)族群的發(fā)展?fàn)顟B(tài),它的重要性不可小覷。 在各少數(shù)民族的裝飾中,腰間的裝飾藝術(shù)形成了少數(shù)民族服飾中獨(dú)特的審美情趣,各類腰飾以自身特有的藝術(shù)魅力和豐富多彩的風(fēng)格變化呈現(xiàn)出來。腰帶中豐富多彩的裝飾藝術(shù)類型集中國(guó)幾千年的民族文化精粹于一身,其中圖案、色彩、工藝都是氐羌族系腰帶裝飾藝術(shù)語意中值得研究的重點(diǎn)內(nèi)容。通過解析氐羌族系腰飾,可以窺見各族群間的傳統(tǒng)文化和裝飾藝術(shù)語意之一斑。 在文獻(xiàn)查閱和田野調(diào)查的基礎(chǔ)上,從氐羌族系腰帶的演化和功能出發(fā),系統(tǒng)的分析了腰帶組成及裝飾藝術(shù)圖案語意,色彩語意,工藝語意及在腰帶藝術(shù)語意中羊崇拜與腰帶藝術(shù)語意的關(guān)系以及與族群源流發(fā)展的關(guān)系。由于古老氐羌民族系統(tǒng)的遠(yuǎn)古原始崇拜的由來及民族文化、族群文化、民族間文化交融對(duì)裝飾藝術(shù)的形成發(fā)展所造成的影響,導(dǎo)致各族群間裝飾藝術(shù)而今雖有不同,但也有聯(lián)系。 通過對(duì)氐羌族系腰帶裝飾藝術(shù)語意的梳理,特別是對(duì)腰帶裝飾藝術(shù)語意中與羊崇拜的關(guān)系及對(duì)整個(gè)族群發(fā)展源流的梳理研究,在以花腰彝、大理白族為例作為主要研究對(duì)象時(shí),還對(duì)整個(gè)氐羌民族系統(tǒng)的所有族群的腰飾裝飾藝術(shù)都做了一個(gè)系統(tǒng)歸納,突出一個(gè)民族系統(tǒng)中現(xiàn)今還依舊有大部分族群仍然保留腰飾中的一個(gè)部分——“尾飾”這一特征,尾飾功能性轉(zhuǎn)變見證了它的歷史源流追溯到遠(yuǎn)古氐羌族系的羊崇拜。在彝族、白族腰帶裝飾藝術(shù)語意中,裝飾內(nèi)容與民族文化內(nèi)涵的高度統(tǒng)—使精湛的裝飾技藝將源于生活的具象形態(tài)及遠(yuǎn)古流傳而來的原始崇拜轉(zhuǎn)化為極具本民族特色的裝飾元素,展現(xiàn)出生活與藝術(shù)、抽象與具象的完美融合。
[Abstract]:The decorative art of ethnic minorities is closely related to the development of the living environment of nationalities, ethnic groups and human beings. Guo Moruo said: "the track of the development of national culture and the influence of each other among the brotherly nations can be seen by clothing, historical production, class relations, customs, cultural relics, etc., which can be seen at a glance and are excellent historical materials." Belt decoration is an important part of clothing, it has different cultural connotations of different nationalities, showing unique cultural charm and artistic representation. The belt, as a garment accessory, often reflects the development of the ethnic group from the aspects of form, color and pattern, and its importance can not be underestimated. In the decoration of the ethnic minorities, the decorative art at the waist has formed the unique aesthetic taste in the costumes of ethnic minorities, and all kinds of waist ornaments are presented with their own unique artistic charm and colorful style changes. The rich and colorful decorative art types in the belt are the essence of Chinese national culture for thousands of years, in which the patterns, colors and techniques are the important contents worth studying in the meaning of the belt decoration art of the Di and Qiang nationality. By analyzing the waist ornaments of Di Qiang nationality, we can see the connotations of traditional culture and decorative arts among different ethnic groups. On the basis of literature review and field investigation, starting from the evolution and function of the belt of Di Qiang nationality, this paper systematically analyzes the composition of belt, the meaning of decorative art pattern, and the meaning of color. The relationship between sheep worship and belt art meaning and the development of ethnic group in craft meaning and belt art meaning. Because of the origin of ancient primitive worship of the ancient Di Qiang ethnic system and the influence of the blending of ethnic culture, ethnic culture and inter-ethnic culture on the formation and development of decorative art, the decorative art among different ethnic groups is now different. But there is also a connection. Through combing the meaning of belt decoration art of Di Qiang nationality, especially the relationship between belt decorative art meaning and sheep worship and the origin of the whole ethnic group, when taking Huayao Yi and Dali Bai as the main research objects, In addition, a systematic summary has been made of the waist decoration art of all ethnic groups in the entire Di-Qiang ethnic system, highlighting the fact that most ethnic groups still retain a part of the waist ornaments "tail ornaments" in a national system. The functional transformation of tail ornaments witnessed its historical origin to the ancient Di-Qiang sheep worship. In the language of Yi and Bai belt decorative arts, The highly unified decorative contents and national cultural connotations-the exquisite decorative techniques will be transformed from the figurative form of life and primitive worship from ancient times into decorative elements with their own national characteristics, showing life and art. The perfect fusion of abstraction and concrete.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J523.5

【參考文獻(xiàn)】

相關(guān)期刊論文 前4條

1 郝云華;彝族刺繡圖案探析——馬櫻花圖案[J];楚雄師范學(xué)院學(xué)報(bào);2002年05期

2 黃俊敏;楊兆麟;;火紋樣在彝族服飾中的表現(xiàn)[J];南寧職業(yè)技術(shù)學(xué)院學(xué)報(bào);2007年03期

3 陳勁松;;花腰彝服飾藝術(shù)初探[J];云南藝術(shù)學(xué)院學(xué)報(bào);2009年02期

4 楊正權(quán);論祖先崇拜與西南民族服飾文化[J];云南學(xué)術(shù)探索;1995年04期

，

本文編號(hào)：2030353