涼山彝族漆藝裝飾元素比較分析
發(fā)布時間：2018-08-18 14:04
【摘要】：由于四川大小涼山特殊的地理構(gòu)造和民族遷徙發(fā)展歷程,直至20世紀(jì)中前葉,涼山彝族自治州地區(qū)都一直處于奴隸制社會,彝族傳統(tǒng)文化基本保持幾千年不變,從而形成了古樸而獨特的藝術(shù)文化風(fēng)貌。其中誕生的涼山彝族漆器,是我國極具特色的民族漆器,其獨特的藝術(shù)魅力,如今已成為促進涼山經(jīng)濟發(fā)展的寶貴文化資源。 時至今日,對涼山彝族漆器的研究多停留在闡述工藝層面,而我們不僅要了解這項工藝美術(shù)的技術(shù)與藝術(shù)現(xiàn)象,更要以涼山彝族漆器為出發(fā)點,進而把握人類審美心理的演進規(guī)律,努力認(rèn)清對涼山彝族漆器形態(tài)產(chǎn)生直接或間接影響的歷史、文化及藝術(shù)心理學(xué)因素。 論文的研究目的是從古代文獻和考古發(fā)掘?qū)嵨镏?整理出涼山彝族漆器與新石器時代黃河中上游彩陶、戰(zhàn)國楚系漆器之間的相似裝飾特點,并對這些相似裝飾元素的形成和組合機制進行分析研究,發(fā)掘出不同地域民族在選擇這些相似裝飾元素時的歷史原因和心理學(xué)動機,找出涼山彝族漆器裝飾藝術(shù)表象下的深層文化因素,和其中所體現(xiàn)的人類藝術(shù)中的共同心理訴求。 首先論文從涼山彝族漆藝術(shù)發(fā)展歷史與文化背景談起,仔細(xì)梳理了中國漆器藝術(shù)的大致發(fā)展流程和涼山彝族漆器的制作歷史與工藝 接下來在深入了解涼山彝族漆器發(fā)展歷史、形制與裝飾特點的前提下,文章從涼山彝族漆器形制、紋樣、色彩三部分裝飾元素入手,結(jié)合美學(xué)、藝術(shù)心理學(xué)、民族學(xué)等相關(guān)內(nèi)容與角度,對涼山彝族漆器與新石器時代黃河中上游彩陶,戰(zhàn)國楚系漆器進行比較分析。 整理分析完涼山彝族漆器與漢地文化相似的裝飾元素后,文章列比出中外現(xiàn)代漆藝發(fā)展的現(xiàn)狀與涼山彝族漆器近年生產(chǎn)的變遷。針對涼山彝族漆藝術(shù)現(xiàn)在繼承和發(fā)展中存在的問題,這些問題與涼山漆藝術(shù)裝飾元素的特點,提出作者對于涼山彝族漆器的發(fā)展的建議與意見。 一個文化的發(fā)展不可能完全獨立于周邊其他文化,涼山彝族漆器中的裝飾元素在各種文化中被普遍應(yīng)用,必然有多種因素的影響,本文嘗試從多元文化互動、藝術(shù)心理學(xué)、宗教崇拜、自然資源選擇等多方面分析比較,但多文化角度的選擇造成研究方面的過于廣泛,必然影響研究的深度,加之理論工具的掌握不夠深刻,因此本文更多的是努力為后來的研究打開思路,提供一個廣泛的視野,為涼山彝族與多文化的對比研究打造一定基礎(chǔ)。
[Abstract]:Due to the special geographical structure and the history of ethnic migration and development in Da-xiaoliang Mountain, Sichuan Province, until the middle of the 20th century, the Liangshan Yi Autonomous Prefecture was in a slavery society, and the Yi traditional culture remained basically unchanged for thousands of years. Thus formed a simple and unique artistic and cultural style. Liangshan Yi lacquer ware is a unique national lacquer ware in China. Its unique artistic charm has become a valuable cultural resource to promote the economic development of Liangshan. To this day, the study of Liangshan Yi lacquer ware mostly stays at the technical level, and we should not only understand the technology and artistic phenomenon of the arts and crafts, but also take the Liangshan Yi lacquer ware as the starting point. Then grasp the evolution law of human aesthetic psychology, and try to recognize the historical, cultural and artistic psychological factors that have direct or indirect influence on the form of lacquer ware in Liangshan Yi nationality. The purpose of this paper is to sort out the similar decorative features between the lacquer ware of the Yi nationality in Liangshan and the painted pottery in the middle and upper reaches of the Yellow River in the Neolithic period and the lacquer ware of the Chu system in the warring States period from the ancient documents and archaeological excavations. And the formation and combination mechanism of these similar decorative elements are analyzed and studied to find out the historical reasons and psychological motives of different regional nationalities in choosing these similar decorative elements. To find out the deep cultural factors under the appearance of Liangshan Yi lacquer decoration art and the common psychological demands in human art. First of all, the paper starts with the history and cultural background of Yi painting art in Liangshan. Carefully combing the general development process of Chinese lacquer art and the production history and process of Liangshan Yi lacquer ware. Next, on the premise of deeply understanding the development history, shape and decorative characteristics of Liangshan Yi lacquer ware, Based on the decoration elements of Liangshan Yi lacquer, including aesthetics, art psychology and ethnology, this paper analyzes the lacquer ware of Liangshan Yi nationality and the painted pottery in the middle and upper reaches of the Yellow River in Neolithic Age. The lacquer ware of Chu system in warring States period was compared and analyzed. After finishing and analyzing the similar decorative elements of Liangshan Yi lacquer ware and Han earth culture, the article compares the present situation of Chinese and foreign modern lacquer art development and the changes of Liangshan Yi lacquer ware production in recent years. In view of the problems existing in the inheritance and development of Liangshan Yi lacquer art, these problems and the characteristics of the decorative elements of Liangshan lacquer art, the author's suggestions and suggestions on the development of Liangshan Yi lacquer ware are put forward. The development of a culture cannot be completely independent of other surrounding cultures. The decorative elements in the lacquer ware of the Liangshan Yi nationality are widely used in various cultures and must have the influence of many factors. Religious worship, choice of natural resources and other aspects are analyzed and compared. However, the choice of multi-cultural perspective results in too extensive research, which will inevitably affect the depth of research, and the mastery of theoretical tools is not deep enough. Therefore, this paper tries to open up ideas for later research, provide a broad perspective, and build a certain foundation for the comparative study of Yi nationality and multiculturalism in Liangshan.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J527
本文編號：2189694
[Abstract]:Due to the special geographical structure and the history of ethnic migration and development in Da-xiaoliang Mountain, Sichuan Province, until the middle of the 20th century, the Liangshan Yi Autonomous Prefecture was in a slavery society, and the Yi traditional culture remained basically unchanged for thousands of years. Thus formed a simple and unique artistic and cultural style. Liangshan Yi lacquer ware is a unique national lacquer ware in China. Its unique artistic charm has become a valuable cultural resource to promote the economic development of Liangshan. To this day, the study of Liangshan Yi lacquer ware mostly stays at the technical level, and we should not only understand the technology and artistic phenomenon of the arts and crafts, but also take the Liangshan Yi lacquer ware as the starting point. Then grasp the evolution law of human aesthetic psychology, and try to recognize the historical, cultural and artistic psychological factors that have direct or indirect influence on the form of lacquer ware in Liangshan Yi nationality. The purpose of this paper is to sort out the similar decorative features between the lacquer ware of the Yi nationality in Liangshan and the painted pottery in the middle and upper reaches of the Yellow River in the Neolithic period and the lacquer ware of the Chu system in the warring States period from the ancient documents and archaeological excavations. And the formation and combination mechanism of these similar decorative elements are analyzed and studied to find out the historical reasons and psychological motives of different regional nationalities in choosing these similar decorative elements. To find out the deep cultural factors under the appearance of Liangshan Yi lacquer decoration art and the common psychological demands in human art. First of all, the paper starts with the history and cultural background of Yi painting art in Liangshan. Carefully combing the general development process of Chinese lacquer art and the production history and process of Liangshan Yi lacquer ware. Next, on the premise of deeply understanding the development history, shape and decorative characteristics of Liangshan Yi lacquer ware, Based on the decoration elements of Liangshan Yi lacquer, including aesthetics, art psychology and ethnology, this paper analyzes the lacquer ware of Liangshan Yi nationality and the painted pottery in the middle and upper reaches of the Yellow River in Neolithic Age. The lacquer ware of Chu system in warring States period was compared and analyzed. After finishing and analyzing the similar decorative elements of Liangshan Yi lacquer ware and Han earth culture, the article compares the present situation of Chinese and foreign modern lacquer art development and the changes of Liangshan Yi lacquer ware production in recent years. In view of the problems existing in the inheritance and development of Liangshan Yi lacquer art, these problems and the characteristics of the decorative elements of Liangshan lacquer art, the author's suggestions and suggestions on the development of Liangshan Yi lacquer ware are put forward. The development of a culture cannot be completely independent of other surrounding cultures. The decorative elements in the lacquer ware of the Liangshan Yi nationality are widely used in various cultures and must have the influence of many factors. Religious worship, choice of natural resources and other aspects are analyzed and compared. However, the choice of multi-cultural perspective results in too extensive research, which will inevitably affect the depth of research, and the mastery of theoretical tools is not deep enough. Therefore, this paper tries to open up ideas for later research, provide a broad perspective, and build a certain foundation for the comparative study of Yi nationality and multiculturalism in Liangshan.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J527
【參考文獻】
相關(guān)期刊論文 前10條
1 侯寶川;涼山彝族的三色藝術(shù)——試論涼山彝族民間色彩[J];重慶工業(yè)管理學(xué)院學(xué)報;1999年04期
2 汪光蕪,閉理由;中國色彩觀念起源追述[J];經(jīng)濟與社會發(fā)展;2003年07期
3 楊兆麟;古樸的華貴——探訪涼山彝族民間工藝[J];今日民族;2003年07期
4 陳永香;論彝族的土地祭祀[J];民間文化;2000年Z2期
5 張志剛;;試論彝族漆器風(fēng)格[J];美術(shù)大觀;2006年09期
6 楊甫旺;彝族葫蘆崇拜與生殖文化略論[J];四川文物;1997年06期
7 蘭一方;涼山彝族漆器源于大方漆器試證[J];四川文物;1997年06期
8 何耀華;彝族的圖騰與宗教的起源[J];思想戰(zhàn)線;1981年06期
9 葉峰;論德國表現(xiàn)主義色彩與彝族漆器色彩之異同[J];西昌師范高等專科學(xué)校學(xué)報;2002年02期
10 曲比阿果;彝族的三色文化[J];西南民族學(xué)院學(xué)報(哲學(xué)社會科學(xué)版);1999年S3期
，本文編號：2189694
本文鏈接：http://sikaile.net/wenyilunwen/shinazhuanghuangshejilunwen/2189694.html
最近更新
教材專著
