發(fā)布時(shí)間：2018-10-30 10:26

【摘要】：清朝是一個(gè)少數(shù)民族建立政權(quán)的國家，滿漢的大融合，讓清朝在發(fā)展?jié)M族文化的同時(shí)，融合漢族文化，使少數(shù)民族與漢族之間的文化相互交叉，互相包容，造就了清朝特有的民族文化內(nèi)涵。珠寶首飾有滿族特有的，如扁方、鈿子等；也有在漢族基礎(chǔ)上繼承發(fā)展來而來的，如發(fā)簪、漢族稱之為步搖的流蘇等；更有承載著清朝興衰寓意的東珠，這些具有時(shí)代烙印的首飾成就了清朝宮廷首飾紋樣的獨(dú)特性和時(shí)代美。帶著這些厚重的歷史文化底蘊(yùn)，把清朝首飾紋樣推向了新的起點(diǎn)。 清朝滿族宮廷首飾紋樣，從線條的流暢，色彩的運(yùn)用，再到紋樣的造型，無一處不透露著歷史文化的洗禮，這些帶著歷史積淀和時(shí)代烙印的首飾紋樣，使清朝滿族宮廷首飾紋樣別具民族文化內(nèi)涵。任何一個(gè)民族都不是一成不變的，隨著社會(huì)、時(shí)代的不斷前進(jìn)，清朝滿族宮廷首飾既有相對(duì)統(tǒng)一的完整性，同時(shí)又具有相互補(bǔ)充的獨(dú)立性，在滿族學(xué)習(xí)和吸收漢文化的過程中，出現(xiàn)滿漢文化相互影響交流的現(xiàn)象，這些文化的交融形成了清朝滿族特有的文化特點(diǎn)。同時(shí)清朝滿族宮廷首飾文化對(duì)漢文化并不是盲目汲取、完全照搬，而是在保持其民族獨(dú)立品格的前提下，去其糟粕，取其精華，并且在原有的文化基礎(chǔ)上不斷發(fā)展，形成新的民族首飾文化。清朝滿族作為統(tǒng)治階級(jí)，滿族文化影響滲透著各個(gè)民族的政治、經(jīng)濟(jì)和文化，在融合大家之長的文化框架下，，滿族宮廷首飾紋樣也在潛移默化的影響著各個(gè)民族的傳統(tǒng)審美、工藝和風(fēng)潮。當(dāng)宮廷首飾紋樣成為民間追捧和效仿的對(duì)象，新的理念，新的思想，新的視角也隨著這些小小的首飾紋樣，潤物無聲地改變著民眾的審美意識(shí)。清朝滿族宮廷首飾紋樣不僅僅是繼承了中華民族博大雄渾的千年文化，這凝聚在首飾紋樣方寸之間的智慧結(jié)晶，更是造就了清朝宮廷首飾紋樣的內(nèi)涵之美。
[Abstract]:The Qing Dynasty was a country where the ethnic minorities established political power. The great integration of Manchu and Han allowed the Qing Dynasty to integrate the Han culture while developing Manchu culture, so that the cultures of the ethnic minorities and the Han nationality intersected and contained each other. Created the unique cultural connotation of the Qing Dynasty. Jewelry has Manchu unique, such as flat square, mother-of-pearl, and so on, but also on the basis of the Han inherited from the development, such as hairpin, the Han nationality called step tassels, and so on; More bearing the rise and fall of the Qing Dynasty East Pearl, these epoch-branded jewelry made the Qing Dynasty palace jewelry patterns unique and the beauty of the times. With these heavy historical and cultural details, the Qing Dynasty jewelry patterns to a new starting point. In the Qing Dynasty Manchu court jewelry patterns, from the smooth lines, the use of colors, to the patterns of patterns, all of which do not reveal the baptism of historical culture, these jewelry patterns with historical accumulation and epoch imprint, Qing Dynasty Manchu court jewelry patterns with national cultural connotations. With the development of the society and the times, the Manchu palace jewelry in the Qing Dynasty has both a relatively unified integrity and a complementary independence. In the process of Manchu learning and absorbing the Han culture, The Manchu culture interacted with each other, which formed the unique cultural characteristics of Manchu in Qing Dynasty. At the same time, Manchu court jewelry culture in Qing Dynasty was not blindly absorbed and completely copied from Han culture, but on the premise of maintaining its independent national character, it chose its dross and its essence, and continued to develop on the basis of its original culture. Form a new national jewelry culture. As a ruling class in Qing Dynasty, Manchu culture influenced the politics, economy and culture of all nationalities. In the framework of integrating the long culture of people, the patterns of Manchu palace jewelry also influenced the traditional aesthetics of all nationalities. Craftsmanship and fads. When court jewelry patterns become the object of folk pursuit and imitation, new ideas, new perspectives with these small jewelry patterns, embellishments silently change the people's aesthetic consciousness. The Qing Dynasty Manchu court jewelry pattern is not only inherited the Chinese nation's magnificent millennium culture, which condensed in the jewelry pattern between square inches of wisdom crystallization, but also created the Qing Dynasty palace jewelry patterns of the connotation of beauty.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J522

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 管彥波;中國各民族首飾物概說[J];青海社會(huì)科學(xué);1997年04期

本文編號(hào)：2299738