湘西苗族踏虎鑿花研究
發(fā)布時間：2019-05-12 09:31
【摘要】：湘西苗族傳統(tǒng)手工藝“踏虎鑿花”是民間剪紙藝術(shù)的一種特殊形態(tài)，作為一種具有物質(zhì)形態(tài)和文化內(nèi)涵的民間手工藝品，凝聚著大量的歷史信息和時代信息。本文選擇藝術(shù)民俗學(xué)和歷史學(xué)的研究方法，以田野調(diào)查所獲得的圖文資料和口述資料為分析對象，探討“踏虎鑿花”與苗族服飾、地域文化的關(guān)聯(lián)，認(rèn)為“踏虎鑿花”是文化涵化、文化交流的成果。民間藝人將鑿紙紋樣創(chuàng)造性的用于苗族服裝的刺繡底稿，使剪紙藝術(shù)不僅能滿足民眾節(jié)慶期間裝飾、審美需求，也能滿足苗族刺繡日益復(fù)雜精致的發(fā)展需求，并成為一部分精于鑿紙工藝的民間藝人的謀生手段，從深度和廣度上拓展了鑿紙功能。鑿紙作品花樣復(fù)雜、圖案精美，從構(gòu)圖上豐富了刺繡的表現(xiàn)手段。對踏虎鑿花的傳承分析顯示“踏虎鑿花”的出現(xiàn)改變了民間剪紙以女性為主體的創(chuàng)作格局，形成了一批以男性為主的行商---鑿花匠�！疤せ㈣徎ā睆脑鷳B(tài)剪紙，經(jīng)歷工具變遷成為“鑿紙”，并最終成為國家非遺從而走向城市化、產(chǎn)業(yè)化的發(fā)展道路。對其變遷動因進(jìn)行分析，得出“踏虎鑿花”的變遷經(jīng)歷了多種合力的作用，物質(zhì)生產(chǎn)方式的根本變革、鄉(xiāng)土社會中的人群涌入城市引起的文化場的移位、民族國家文化的發(fā)展需求、民眾閑暇生活方式的轉(zhuǎn)換、外部環(huán)境的變化和外來文化的影響都在或深或淺地影響著踏虎鑿花的變化。作為傳承鑿花的中堅(jiān)力量，傳承人們對鑿花的認(rèn)識經(jīng)歷了從自然到文化自覺的發(fā)展過程。鑿花藝人們從民間藝人到行商，，從鑿花工藝的自然習(xí)得者到主動學(xué)習(xí)者和保護(hù)者，通過身份轉(zhuǎn)變，不斷順應(yīng)時代變化�！疤せ㈣徎ā蓖ㄟ^吸收、借鑒符合大眾審美觀念的圖案、裝飾技巧和營銷手段，不斷創(chuàng)新其表現(xiàn)形式，體現(xiàn)了民俗文化頑強(qiáng)的生命力。其成功的變化過程值得眾多非物質(zhì)文化遺產(chǎn)借鑒和參照。
[Abstract]:The traditional handicraft of Miao nationality in western Hunan is a special form of folk paper-cut art. As a kind of folk handicraft with material form and cultural connotation, it condenses a lot of historical information and information of the times. In this paper, the research methods of art folklore and history are selected, and the graphic and oral data obtained from field investigation are taken as the object of analysis, and the relationship between "treading tiger chisel flowers" and Miao dress and regional culture is discussed. Think "step tiger chisel flower" is cultural acculturation, cultural exchange achievement. Folk artists creatively use paper chisel patterns in embroidered manuscripts of Miao clothing, so that paper-cut art can not only meet the decoration and aesthetic needs of the people during the festival, but also meet the increasingly complex and exquisite development needs of Miao embroidery. And become a part of the folk artists who are good at chisel technology to make a living, from the depth and breadth of the expansion of the function of paper chisel. Chisel works have complex patterns and exquisite patterns, which enrich the means of embroidery from the composition. The inheritance analysis of treading tiger chisel flowers shows that the emergence of "treading tiger chisel flowers" has changed the creation pattern of folk paper-cut with women as the main body, and formed a group of male-dominated businessmen-chisel gardeners. "step tiger chisel flower" from the original ecological paper-cut, through the change of tools to "chisel paper", and finally become a national non-legacy to urbanization, industrialization of the development road. By analyzing the causes of its changes, it is concluded that the changes of "treading tigers and chiseling flowers" have experienced a variety of joint forces, the fundamental change of material mode of production, and the displacement of cultural fields caused by the influx of people into the city in the local society. The development demand of nation-state culture, the transformation of people's leisure life style, the change of external environment and the influence of foreign culture all have a deep or shallow influence on the change of treading tiger chisel flowers. As the backbone of inheriting and chiseling flowers, people's understanding of chiseling flowers has gone through the development process from nature to cultural consciousness. Chisel flower artists from folk artists to businessmen, from the natural acquisition of flower chisel to active learners and protectors, through identity change, constantly adapt to the changes of the times. By absorbing, drawing lessons from the patterns, decorative skills and marketing means in line with the aesthetic concept of the masses, "treading tiger chisel flowers" constantly innovates its forms of expression and embodies the tenacious vitality of folk culture. Its successful process of change is worthy of reference and reference for many intangible cultural heritages.
【學(xué)位授予單位】：贛南師范學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J528.1
[Abstract]:The traditional handicraft of Miao nationality in western Hunan is a special form of folk paper-cut art. As a kind of folk handicraft with material form and cultural connotation, it condenses a lot of historical information and information of the times. In this paper, the research methods of art folklore and history are selected, and the graphic and oral data obtained from field investigation are taken as the object of analysis, and the relationship between "treading tiger chisel flowers" and Miao dress and regional culture is discussed. Think "step tiger chisel flower" is cultural acculturation, cultural exchange achievement. Folk artists creatively use paper chisel patterns in embroidered manuscripts of Miao clothing, so that paper-cut art can not only meet the decoration and aesthetic needs of the people during the festival, but also meet the increasingly complex and exquisite development needs of Miao embroidery. And become a part of the folk artists who are good at chisel technology to make a living, from the depth and breadth of the expansion of the function of paper chisel. Chisel works have complex patterns and exquisite patterns, which enrich the means of embroidery from the composition. The inheritance analysis of treading tiger chisel flowers shows that the emergence of "treading tiger chisel flowers" has changed the creation pattern of folk paper-cut with women as the main body, and formed a group of male-dominated businessmen-chisel gardeners. "step tiger chisel flower" from the original ecological paper-cut, through the change of tools to "chisel paper", and finally become a national non-legacy to urbanization, industrialization of the development road. By analyzing the causes of its changes, it is concluded that the changes of "treading tigers and chiseling flowers" have experienced a variety of joint forces, the fundamental change of material mode of production, and the displacement of cultural fields caused by the influx of people into the city in the local society. The development demand of nation-state culture, the transformation of people's leisure life style, the change of external environment and the influence of foreign culture all have a deep or shallow influence on the change of treading tiger chisel flowers. As the backbone of inheriting and chiseling flowers, people's understanding of chiseling flowers has gone through the development process from nature to cultural consciousness. Chisel flower artists from folk artists to businessmen, from the natural acquisition of flower chisel to active learners and protectors, through identity change, constantly adapt to the changes of the times. By absorbing, drawing lessons from the patterns, decorative skills and marketing means in line with the aesthetic concept of the masses, "treading tiger chisel flowers" constantly innovates its forms of expression and embodies the tenacious vitality of folk culture. Its successful process of change is worthy of reference and reference for many intangible cultural heritages.
【學(xué)位授予單位】：贛南師范學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J528.1
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