本文選題：吉林滿族 + 伊通　； 參考：《中央民族大學(xué)》2017年碩士論文

【摘要】：在我國這個統(tǒng)一的多民族國家中,各民族都因其獨特的歷史文化而綻放光彩。滿族是我國北方具有悠久歷史的少數(shù)民族,對中華民族的發(fā)展做出過重大的貢獻,并且在漫長的歷史進程中創(chuàng)造了獨具特色的民族文化藝術(shù),她燦爛的文化以在中國歷史上產(chǎn)生過巨大影響而聞名于世。文化的載體從藝術(shù)中顯現(xiàn),各民族用鮮活的藝術(shù)語言表達其民族精神,旗袍作為滿族服飾文化的重要組成部分,不僅是一種民族服飾,更是滿族幾千年來民族漁獵農(nóng)耕文化的傳承。滿族的先祖很早就繁衍在我國的黑山白水間,是最早能在歷史文獻中找到相關(guān)資料的北方少數(shù)民族,在漫長悠久的歷史發(fā)展過程中,由肅慎人幾經(jīng)發(fā)展演變,至宋、元、明形成為女真人。從努爾哈赤統(tǒng)一女真人各部開始,明代的女真進入了興盛時期,這個時期的到來注定了滿族的誕生。據(jù)2010年的第六次全國人口普查,大陸地區(qū)的滿族人口約為1041萬,臺灣地區(qū)的滿族人口數(shù)量約為1.2萬,在中國少數(shù)民族總?cè)丝谥信琶谌?隨著各民族歷史的發(fā)展和變遷,現(xiàn)今的滿族散居在全國各地,大部分滿族散居在吉林、內(nèi)蒙古、黑龍江等地區(qū),并在主要的聚居地建立了滿族自治縣和若干個滿族鄉(xiāng)。伊通縣滿族自治縣簡稱為伊通,古時被稱為以禿,伊屯等,都為滿語的音譯,其滿語來源于伊通河的名稱,有洶涌和宏大之意。其地域遼闊,歷史悠久,為滿族的發(fā)源地之一,也是吉林省唯一一個滿族自治縣,有著深厚的文化底蘊。從古溯今,海西女真扈倫四部中的輝發(fā)部和葉赫部在明朝中晚期時駐足于伊通,在此地開拓基業(yè)和繁衍生息,并且與之后的建州女真融合,統(tǒng)稱為"滿洲"。清朝的孝慈高皇后與孝慈顯皇后都是葉赫那拉氏的后代,葉赫所居之地距離伊通也只有幾十公里,生活氣息與文化血脈相通,不論從地理位置還是歷史淵源上看,伊通與滿族都有著最原始的聯(lián)系。于2001年時,在滿族風(fēng)情濃郁,素有"滿人魂鄉(xiāng)"之稱的伊通建立了伊通滿族博物館,其前身是1987年6月創(chuàng)建的伊通滿族民俗館。博物館造型新穎,雄大宏偉,完美的結(jié)合了民族建筑特色與當(dāng)代建筑風(fēng)格,館內(nèi)設(shè)有七個展廳,館藏的文物多達630種,近4600件,是目前國內(nèi)縣級滿族民俗文物收藏最多,質(zhì)量最好,檔次較高的民俗文化展示勝地。館內(nèi)從滿族的源流、生產(chǎn)生活、文化特色、文化禮儀、信仰和古今伊通這七個部分進行展出,從滿族文物、照片和模型等表現(xiàn)形式展現(xiàn)了唯美的滿族風(fēng)情畫卷,也展現(xiàn)出滿族先民用勤勞與智慧描繪出絢麗多彩的民俗文化,從不同的側(cè)面映現(xiàn)出伊通滿族的悠久歷史和燦爛文化。博物館內(nèi)展出了大量的滿族服飾,從衣冠鞋履到精美配飾,其中旗袍占有最大的比重,不論是不同款式的旗袍,還是與旗袍相配的服飾首飾發(fā)飾,都有相關(guān)文物陳列,作者在參觀博物館時,講解員也是身著旗袍,進行全程講解。旗袍是由袍服演變而來,而袍服是在滿族先民在長期的生產(chǎn)生活方式中,加之與自然環(huán)境進行抗?fàn)?將本族的民族文化與其他民族的民族文化習(xí)俗不斷融合的產(chǎn)物,在滿族進入中原以后,生活方式有了很大的改變,由狩獵游牧變?yōu)榱宿r(nóng)耕生活,再加上滿漢文化的交融,使得旗袍的款式也悄悄的進行著改變,旗袍的發(fā)展變遷史也是滿族歷史變遷的一面鏡子,具有相當(dāng)深厚的歷史文化淵源,筆者希望通過對伊通滿族博物館旗袍的研究,從美學(xué)和藝術(shù)學(xué)的角度,充分認識博物館內(nèi)旗袍中蘊含的歷史文化、審美特征以及文化內(nèi)涵。第一章介紹了選題研究緣起及意義、研究目的及方法和相關(guān)概念界定。本文以伊通滿族博物館中的旗袍作為研究對象,采用了歷史文獻研究法和田野調(diào)查法,分析研究了博物館內(nèi)的多件旗袍。研究原因主要是通過對其旗袍進行細致系統(tǒng)的研究,能夠?qū)M族旗袍的研究領(lǐng)域進行擴充,為旗袍藝術(shù)的傳承與發(fā)展提供一定的理論依據(jù)。第二章是對旗袍進行概述,主要內(nèi)容在于對旗袍發(fā)展史進行介紹。在此章節(jié)中筆者查閱了大量的文獻古籍,對以往的研究學(xué)者對于旗袍的發(fā)展演變過程進行了系統(tǒng)的整理。第三章對伊通滿族博物館旗袍進行了概述,從整身旗袍與旗袍相關(guān)服飾兩部分進行介紹。第四章對伊通滿族博物館旗袍的審美特征進行了分析研究,通過對收集圖片的歸納分析,分別從材質(zhì)語言、色彩語言、紋飾語言、造型語言與工藝語言去介紹。第五章系統(tǒng)的分析了伊通滿族博物館旗袍的文化內(nèi)涵,主要從歷史的傳承、與女性美的關(guān)系和當(dāng)代社會這三個方面進行論述。
[Abstract]:In this unified multi-ethnic country, all ethnic groups are blossoming because of their unique history and culture. Manchu is a ethnic minority with a long history in the north of China. It has made great contributions to the development of the Chinese nation and created a unique culture and art in the long history. The carrier of culture has been famous in the history of China. The carrier of culture appears from the art. All ethnic groups express their national spirit with vivid artistic language. As an important part of the Manchu dress culture, Qipao is not only a national costume, but also the inheritance of the Manchu culture and culture of the ethnic fishing and hunting for thousands of years. Early on the black mountain white water between China, the earliest in the historical literature to find the relevant information in the northern minority, in the long and long history of historical development, from the Su Shen people to the development and evolution, to the song, yuan, Ming shape became a woman. From Nur Ha Che unify the Ministry of women, the Ming dynasty women entered the flourishing period, The arrival of this period is doomed to the birth of the Manchu. According to the sixth national census in 2010, the population of the Manchu population in the mainland is about 10 million 410 thousand. The population of the Manchu population in Taiwan is about 12 thousand. The population of the Chinese minority is ranked third. With the development and change of the history of each ethnic group, the Manchus are scattered all over the country. Most Manchu scattered in Jilin, Inner Mongolia, Heilongjiang and other areas, and in the main settlement of Manchu Autonomous County and a number of Manchu townships. Yitong County Manchu Autonomous County is called Yitong. The ancient time is called bald, yitun, and other Manchu transliteration. The Manchu language comes from the name of the Yitong River, which is turbulent and grand. With a long history and one of the birthplaces of Manchu, it is also the only Manchu Autonomous County in Jilin province. It has a profound cultural background. From ancient times, the Ministry of Hui hair and ye Hau in the four parts of the Haixi female real hayen reside in the Yitong in the middle and late Ming Dynasty. For the "Manchuria". The Qing Dynasty's filial piety queen and the empress of filial piety are all descendants of yetarara. Yehiel's place is only a few tens of kilometers from Yitong, the breath of life is connected with the blood of culture. Regardless of geographical location and historical origin, Yi Tong and Manchu have the most primitive relations. In 2001, the Manchu customs were rich and rich. The Museum of Yitong Manchu, known as "full of soul townships", is a museum of Yitong Manchu. Its predecessor is Yitong Manchu folk custom museum, which was created in June 1987. The museum has a new style and great majestic style. It has a perfect combination of national architectural features and contemporary architectural style. There are seven exhibition halls in the museum. There are as many as 630 kinds of cultural relics and nearly 4600. The folk custom cultural relics have the most collection, the best quality and the high grade folk culture display resort. The museum displays the seven parts of the Manchu origin, production, life, cultural features, cultural etiquette, belief and ancient and modern Yitong. It shows the beautiful Manchu style picture from the Manchu cultural relics, photos and models, and also shows the Manchu first. Civil service and wisdom depict a colorful folk culture, reflecting the long history and splendid culture of the Manchu from different sides. A large number of Manchu costumes are displayed in the museum, from the dress shoes to the exquisite accessories, of which the cheongsam occupies the largest proportion, whether it is the different style of the cheongsam, or the dress matching the cheongsam. When the author visited the museum, the author was dressed in a cheongsam to explain the whole course. The cheongsam was evolved from a robe, and the gown was in a long period of production and life, in addition to the natural environment, and the ethnic culture of the family and the national cultural customs of other nationalities. After the integration of the Manchu into the Central Plains, the way of life changed greatly. The hunting nomads changed into farming life, and the blend of the Manchu and Chinese culture made the style of the cheongsam changed quietly. The history of the development and change of the cheongsam was also a mirror of the historical changes of the Manchu nationality, with a considerable historical culture. The author hopes to fully understand the history, culture, aesthetic characteristics and cultural connotations of the cheongsam in the museum through the study of the cheongsam of the Yitong Manchu Museum, from the angle of aesthetics and art. The first chapter introduces the origin and significance of the study, the purpose and method of the study and the definition of the related concepts. The cheongsam in the museum, as the research object, uses the historical literature research method and the field investigation method to analyze and study the multiple cheongsam in the museum. The main reason is to study the cheongsam carefully and systematically. It can expand the research field of Manchu cheongsam, and provide a certain theoretical basis for the inheritance and development of the art of Qipao. The second chapter is an overview of cheongsam. The main content is the introduction of the history of the development of cheongsam. In this chapter, the author consults a large number of ancient books, and systematically collate the development and evolution process of Qipao by the former researchers. The third chapter is a summary of the cheongsam of the Manchu Manchu Museum, from the whole body of the cheongsam and the flag. The two parts of the dress related dress are introduced. The fourth chapter analyses the aesthetic characteristics of the cheongsam of the Manchu Museum of Yitong. Through the induction and analysis of the collection of pictures, the article introduces the material language, color language, ornamentation language, modeling language and process language respectively. The fifth chapter systematically analyzes the culture of the Qipao of the Manchu Museum of Yitong. The connotation is mainly discussed from three aspects: historical inheritance, relationship with women beauty and contemporary society.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：TS941.717.8

【參考文獻】

相關(guān)期刊論文 前1條

1 卞向陽;論旗袍的流行起源[J];裝飾;2003年11期

，

本文編號：1997036