本文選題：卓尼藏族 + 龍紋圖形　； 參考：《中央民族大學(xué)》2010年博士論文

【摘要】： 龍紋圖形是以卓尼藏族地區(qū)“萬(wàn)物有靈”思想為基礎(chǔ)；以地理環(huán)境、多元文化、宗教形式為依托,經(jīng)過(guò)長(zhǎng)期的相互融合演變,從而形成的帶有濃郁民族性、地域性特點(diǎn)和內(nèi)涵的藝術(shù)形式,它不但積淀和保留了較多的原始文化特點(diǎn),同時(shí)它還吸收和融合了較多的外來(lái)文化因素,可謂兼容并蓄、博采眾長(zhǎng)。龍紋圖形的表現(xiàn)形式和精神內(nèi)涵,不但展示了卓尼藏族藝術(shù)的無(wú)限魅力,還是構(gòu)建卓尼藏族社會(huì)人與人、人與物、人與自然和諧發(fā)展的重要內(nèi)容之一,更是卓尼藏族地區(qū)人們精神、理想、價(jià)值觀、審美觀的集中體現(xiàn)。近年來(lái)龍紋圖形受到越來(lái)越多研究學(xué)者的關(guān)心和重視,成為研究卓尼藏族地區(qū)自然、歷史、政治、文化的重要史料。 本文在前人研究的基礎(chǔ)上,以卓尼藏族地區(qū)龍紋圖形實(shí)物為基礎(chǔ),通過(guò)對(duì)以往藏傳佛教藝術(shù)基礎(chǔ)文獻(xiàn)、代表性著作以及圖像研究的回顧和分析。對(duì)卓尼藏族龍紋圖形的分布、形成要素、藝術(shù)特征、文化內(nèi)涵以及存在價(jià)值等問(wèn)題進(jìn)行了探索和研究,并明確地提出了研究的立場(chǎng)和觀點(diǎn)。 全文共分緒論和五章,一個(gè)彩圖附錄和近百?gòu)埌酌璨鍒D。概括介紹了中外學(xué)者在研究方面的主要成果和研究現(xiàn)狀。利用人類學(xué)理論和田野調(diào)查方法,從卓尼藏族的自然地理、宗教文化、風(fēng)俗習(xí)慣入手,分別對(duì)龍紋圖形的重點(diǎn)分布區(qū)域和樣式、龍紋圖形的形成和發(fā)展變化規(guī)律、龍紋圖形的藝術(shù)特征和精神內(nèi)涵以及龍紋圖形所包含的深刻哲理和精神內(nèi)涵,對(duì)建立具有中國(guó)特色的現(xiàn)代設(shè)計(jì)理念和存在價(jià)值等問(wèn)題進(jìn)行了探索和研究,并明確地提出了研究的立場(chǎng)和觀點(diǎn)。 研究以田野調(diào)查為依據(jù),通過(guò)對(duì)卓尼藏族龍紋圖形中所蘊(yùn)含的精神本質(zhì)和文化內(nèi)涵分析,擺脫了以往在藝術(shù)圖形研究中偏重于藝術(shù)特征和表現(xiàn)方法的現(xiàn)象,系統(tǒng)地解析了卓尼藏族龍紋圖形的文化內(nèi)涵和發(fā)展脈絡(luò),為深層次地了解卓尼藏族人們的精神世界和審美意向,進(jìn)一步研究卓尼藏族地區(qū)的文化藝術(shù)提供一個(gè)新的思路。 研究表明龍紋圖形作為一種象征符號(hào),不同時(shí)期的龍紋都不同程度的受到了當(dāng)時(shí)社會(huì)文化的影響。其外在形式的多樣性、復(fù)雜性,不但體現(xiàn)了一種根植于本土文化和生存環(huán)境并不斷與外來(lái)文化融合與重組的文化傳統(tǒng),也集中體現(xiàn)了卓尼藏族人民對(duì)現(xiàn)實(shí)生活的感悟、對(duì)美好幸福生活的向往和對(duì)自然的崇拜與敬慕。龍紋圖形中充滿智慧的處世哲學(xué)、強(qiáng)調(diào)善惡分辨的道德觀念和圓融自然的信仰體系,為建立中國(guó)現(xiàn)代藝術(shù)設(shè)計(jì)的發(fā)展模式和方向提供了一個(gè)新的思路,也為建立具有中華民族文化特色的現(xiàn)代設(shè)計(jì)體系找到了最佳的契合點(diǎn)。同時(shí),對(duì)重新構(gòu)建當(dāng)今社會(huì)人與自然和諧發(fā)展的理論和實(shí)踐,也具有重要借鑒意義和啟示作用。
[Abstract]:The dragon pattern is based on the thought of "everything is alive" in the Zhongni Tibetan region. It is based on the geographical environment, multicultural and religious forms, and has evolved through a long period of mutual integration, thus forming a strong national character. Regional characteristics and connotation of the art form, it not only accumulated and retained more original cultural characteristics, at the same time, it also absorbed and integrated more foreign cultural factors, it can be said to be all-inclusive. The expression form and spiritual connotation of dragon patterns not only show the infinite charm of Zhoni Tibetan art, but also constitute one of the important contents of the harmonious development of people and people, people and things, people and nature in the construction of Zhuoni Tibetan society. The spirit, ideal, values and aesthetics of the Zang nationality people are embodied. In recent years, the dragon pattern has been paid more and more attention by more and more scholars, and has become an important historical material for the study of the natural, historical, political and cultural aspects of the Zhoni Tibetan region. On the basis of previous studies, this paper reviews and analyzes the previous literature on Tibetan Buddhism art, representative works and images based on the dragon pattern of Zhongni Tibetan region. This paper explores and studies the distribution, forming elements, artistic characteristics, cultural connotation and existing value of Zhongni Tibetan dragon pattern, and puts forward the standpoint and viewpoint of the research. The full text is divided into introduction and five chapters, a color map appendix and nearly 100 illustrations. This paper briefly introduces the main achievements and research status of Chinese and foreign scholars in the field of research. By using anthropological theory and field investigation, starting with the natural geography, religious culture, customs and habits of Zhongni Tibetans, the main distribution areas and patterns of dragon patterns, the formation and development of dragon patterns are discussed respectively. The artistic features and spiritual connotations of dragon patterns, as well as the profound philosophical and spiritual connotations of dragon patterns, have been explored and studied on the establishment of modern design concepts and existing values with Chinese characteristics. And clearly put forward the research position and point of view. On the basis of field investigation, through the analysis of the spiritual essence and cultural connotation contained in the Zhoni Tibetan dragon pattern, the author gets rid of the phenomenon that emphasis on artistic characteristics and methods of expression is attached to the study of artistic graphics in the past. This paper systematically analyzes the cultural connotation and development context of Zhoni Tibetan dragon pattern, and provides a new way of thinking for further understanding the spiritual world and aesthetic intention of the Zhoni Tibetan people and further studying the culture and art in the Zhoni Tibetan region. The study shows that dragon pattern as a symbol of different periods are affected by different degrees of social culture. The diversity and complexity of its external forms not only embodies a cultural tradition rooted in local culture and living environment and constantly merged and reorganized with foreign cultures, but also embodies the Zhoni Tibetan people's perception of real life. Yearning for a better and happy life and adoration and admiration for nature. The philosophy of dealing with the world with wisdom in the dragon pattern, emphasizing the moral concept of distinguishing good from evil and the harmonious belief system of nature, provides a new way of thinking for the establishment of the development mode and direction of Chinese modern art design. Also found the best fit for the establishment of the modern design system with Chinese cultural characteristics. At the same time, it is of great significance and enlightenment to reconstruct the theory and practice of harmonious development between man and nature.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：K876.3

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本文編號(hào)：1800003