【摘要】：本文以哈尼族女性傳統(tǒng)服飾為研究對(duì)象,在田野作業(yè)和文獻(xiàn)資料的基礎(chǔ)上,運(yùn)用符號(hào)學(xué)的理論知識(shí)從服飾款型、色彩、佩飾、裝飾圖案以及服飾制作與更換五個(gè)方面剖析各服飾要素的文化象征,并進(jìn)一步探討這一符號(hào)系統(tǒng)的建構(gòu)及在民族文化闡釋中的意義。 正文包括緒論、五個(gè)章節(jié)以及結(jié)論。 緒論主要交代了論文的研究背景、研究現(xiàn)狀以及研究方法。 第一章,介紹了哈尼族女性傳統(tǒng)服飾的款型概況,并以奕車(chē)、愛(ài)尼、碧約三個(gè)支系為例,探析了服飾款型中負(fù)載的文化信息——或是民族信仰的物化,或是民族神話(huà)、傳說(shuō)的轉(zhuǎn)述,或是先祖戰(zhàn)爭(zhēng)、遷徙、開(kāi)山造田艱難歷史的遺痕,或是民族生存環(huán)境與社會(huì)結(jié)構(gòu)的摹形。 第二章,介紹了哈尼族女性傳統(tǒng)服飾的色彩概況——崇黑、敬紅、尚白,并分析服色觀念的產(chǎn)生及衍變,進(jìn)而論述其文化象征意義——黑是人類(lèi)避開(kāi)鬼魂糾纏、躲避惡人追擊的保護(hù)色;紅是天界、神靈的象征,超然于人世又降靈賜福于人間;白則記錄了哈尼人對(duì)和平的永恒追求。 第三章,介紹了哈尼族女性傳統(tǒng)服飾的佩飾概況,集中剖析了意蘊(yùn)豐富的銀飾、魚(yú)飾和羽飾。圖騰觀念在哈尼族女性的佩飾中留下深深印記;地域環(huán)境包括梯田農(nóng)耕的生產(chǎn)方式在其中留下痕跡;社會(huì)群體長(zhǎng)期形成的審美標(biāo)志、價(jià)值判斷、禮儀規(guī)范不知不覺(jué)中凝聚其間。 第四章,介紹了哈尼族女性傳統(tǒng)服飾中的裝飾圖案,并揭示了其 中蘊(yùn)含的文化意義。從開(kāi)天辟地的神話(huà)到萬(wàn)物有靈的信仰,從個(gè)人私 情到民族歷史,均有表述。其中,經(jīng)典“阿博”和送葬頭飾“吳芭” 更是對(duì)民族文化的精彩闡釋。 第五章,介紹了哈尼族女性傳統(tǒng)服飾的制作、更換以及流動(dòng)于其 中的象征語(yǔ)言。女性服飾的制作與更換的過(guò)程中,往往以約定俗成的 方式,無(wú)聲地傳達(dá)著豐富、復(fù)雜的信息。尤其是圍繞女性人生禮儀的 換裝,實(shí)質(zhì)是哈尼族傳統(tǒng)社會(huì)對(duì)女性?xún)x禮規(guī)范的物化,以此維持民族 社會(huì)生活、文化結(jié)構(gòu)乃至婚姻制度的穩(wěn)固。 結(jié)論闡述了本文的主要見(jiàn)解,即哈尼族女性傳統(tǒng)服飾是一個(gè)極富 象征意義的符號(hào)系統(tǒng),在民族文化闡釋中具有重要意義。主要剖析了 這一符號(hào)系統(tǒng)的構(gòu)建及其主要特點(diǎn),進(jìn)而闡述了其文化闡釋功能的實(shí) 現(xiàn)方式。 本文是對(duì)哈尼族女性傳統(tǒng)服飾文化的一次整合性研究,有助于對(duì) 哈尼族服飾及文化形成整體認(rèn)識(shí)。從文化闡釋的角度進(jìn)行探討,有助 于認(rèn)識(shí)其服飾符號(hào)系統(tǒng)的構(gòu)成及其獨(dú)有文化價(jià)值。此外,傳統(tǒng)文化必 然安與時(shí)俱進(jìn),本義的研究旨在促進(jìn)哈尼人對(duì)自己文化的認(rèn)識(shí),進(jìn)l(lJ 增強(qiáng)民族自信心,最終提高民族文化的自我傳習(xí)、保護(hù)和發(fā)展能力。 關(guān)鍵詞哈尼族,女性,傳統(tǒng)服飾,符號(hào)象征,文化闡釋
[Abstract]:Based on the field work and the literature, the paper analyzes the cultural symbols of the elements of the dress from the aspects of the dress pattern, the color, the ornament, the decoration pattern and the manufacture and replacement of the dress, based on the field work and the literature. The construction of this symbol system and its significance in the interpretation of national culture are further discussed. the text includes the introduction, The five chapters and the conclusion. The introduction mainly explains the theory The research background, the research status and the research methods of the paper are introduced in the first chapter. The article introduces the general situation of the traditional dress of the Hani women, and studies the cultural information _ or the national belief of the load in the pattern of the dress, taking the three branches of the car, the Aini and the Bioran as an example. The materialization, or the national myth, the legend, or the ancestor's war, the migration, the opening of the mountain. In the second chapter, the author introduces the color of the traditional dress of the Hani women. The symbol of its culture is that it is a protective color for mankind to avoid the entanglement of the ghost and to avoid the pursuit of the evil-doer; and the red is the world of the sky, the God The symbol of the spirit, over the world, and the spirit of the soul on the earth; and the white record the eternal pursuit of the peace by the Hani. In the third chapter, the general situation of the traditional dress of the Hani women is introduced, and the contents of the silver, the fish and the feather are analyzed. The totem concept leaves a deep mark in the peepings of the Hani women. The regional environment includes terraced fields. The pattern of production leaves traces; the long-term aesthetic signs and values of social groups I don't know. I don't know. In the absence of a coacervation. In chapter 4, The traditional dress of the Hani women is introduced. The decorative pattern in, and reveals the cultural meaning contained in it. A belief in the spirit of all things, from one to another. The people's private love to the national history, all have the expression. Among them, the classic

"A Bot " and" Bunk> "W u ba " It's also a highlight of the national culture. The fifth chapter introduces the production of the traditional dress of the Hani women. , replace and flow in In the process of the production and replacement of women's dress, it is often used as a common practice. in a manner that is a silent transmission of rich and complex Information. In particular It is the change of the women's life etiquette, and the essence is the Hani tradition. social-to-female The materialization of the standard of the etiquette and etiquette in order to maintain the national social life And the stability of the cultural structure and the marriage system. The conclusions are presented in this paper. The main idea of the text, that is, the Hani women's traditional dress is a very rich The symbolic system of symbolic meaning is of great significance in the interpretation of national culture. The construction of this symbol system and its main characteristics, and then the text of the symbol system The real-current mode of the function of the interpretation and explanation.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類(lèi)號(hào)】：C955

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 譚洋洋;;淺析哈尼族服飾圖案對(duì)現(xiàn)代服裝設(shè)計(jì)的啟示[J];山東紡織經(jīng)濟(jì);2011年03期

相關(guān)碩士學(xué)位論文 前5條

1 邵靖;云南少數(shù)民族包的文化符碼研究[D];昆明理工大學(xué);2009年

2 韋夷;服飾之美的符號(hào)學(xué)研究[D];廣西師范大學(xué);2011年

3 李陽(yáng);哈尼族服飾紋樣視覺(jué)語(yǔ)言研究[D];昆明理工大學(xué);2011年

4 譚洋洋;哈尼族服飾圖案藝術(shù)研究[D];昆明理工大學(xué);2007年

5 朱芳;云南少數(shù)民族圖形元素在室內(nèi)陳設(shè)品設(shè)計(jì)中的運(yùn)用[D];云南藝術(shù)學(xué)院;2010年

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本文編號(hào)：2501099