【摘要】： 游牧民族的主要纖維原料是蒙古族傳統(tǒng)工藝美術(shù)的重要組成部分。羊毛加工制成的氈毯,長(zhǎng)期以來(lái)不僅是他們的服裝、建筑和起居用品,也是他們美化生活的主要載體和寄托審美的重要實(shí)物。 本文從蒙古族傳統(tǒng)氈制品的裝飾特征入手,與蒙古族傳統(tǒng)手工栽絨毯進(jìn)行對(duì)比,從民俗學(xué)、圖案學(xué)、設(shè)計(jì)學(xué)的角度,結(jié)合蒙古民族的生活習(xí)俗、宗教信仰等傳統(tǒng)文化因素予以研究分析,對(duì)蒙古族氈制品和栽絨毯的裝飾及圖案特征進(jìn)行了提煉和總結(jié),重點(diǎn)研究了作為北方游牧民族具有代表性的毛織物——?dú)�、毯在歷史進(jìn)程中,受社會(huì)影響而選擇的不同發(fā)展路線(xiàn)。1271年,忽必烈建立大元,蒙古游牧民族入主中原,使其居住方式移動(dòng)式建筑轉(zhuǎn)向固定式建筑方向發(fā)展;明朝一代,北元政權(quán)退居漠北,蒙古族返回移動(dòng)式建筑狀態(tài);清朝滿(mǎn)、蒙貴族再次進(jìn)入定居生活。生活方式的轉(zhuǎn)變,影響了氈、毯的使用方式和范圍。 通過(guò)比對(duì)分析,挖掘氈繡圖案紋樣的裝飾特征,剖析蒙古族栽絨毯紋樣豐富的緣由,整理蒙古族現(xiàn)存氈、毯圖案的人文背景,旨在為現(xiàn)代設(shè)計(jì)者提供設(shè)計(jì)依據(jù),以達(dá)到傳承發(fā)展的目的。 本論文的主要?jiǎng)?chuàng)新點(diǎn)為: 第一,提出蒙古族傳統(tǒng)氈毯同源分流理論。它們都產(chǎn)生于蒙古族游牧生活當(dāng)中,其后因生活方式和居住方式的改變,氈毯的使用范圍出現(xiàn)差異,其裝飾特征也產(chǎn)生明顯不同。 第二,分析歸納了氈繡藝術(shù)的裝飾特征。得出蒙古族傳統(tǒng)氈制品裝飾藝術(shù)比蒙古族傳統(tǒng)栽絨毯裝飾藝術(shù)更多保留了蒙古族傳統(tǒng)審美。近現(xiàn)代蒙古族傳統(tǒng)栽絨毯已成為多元文化影響的產(chǎn)物。
[Abstract]:The main fiber raw material of nomadic people is an important part of Mongolian traditional arts and crafts. The felt made of wool has long been not only their clothing, architecture and daily necessities, but also the main carrier of beautifying their life and the important object of aesthetic sustenance. This paper begins with the decorative characteristics of Mongolian traditional felt products, and compares with the traditional Mongolian traditional hand-planted tapestry. From the perspective of folklore, patterning and design, it combines the life and customs of the Mongolian people. Religious belief and other traditional cultural factors were studied and analyzed, and the decoration and pattern characteristics of Mongolian felt and tapestry were refined and summarized, with emphasis on the study of wool fabric-felt, which is the representative of northern nomadic people. In the course of history, different development routes were chosen under the influence of society. In 1271, Hu Bilie established the Great Yuan Dynasty, and the nomadic people of Mongolia entered the Central Plains to make their living style mobile buildings turn to the direction of fixed buildings. In the Ming Dynasty, the regime of the Northern Yuan Dynasty retreated to the north of the desert, and the Mongolian people returned to the state of mobile architecture. Changes in lifestyle have affected the way and scope of use of felt and blankets. By comparing and analyzing, we excavate the decorative characteristics of the pattern of felt embroidery, analyze the reason of the rich patterns of the Mongolian tapestry, and sort out the humanistic background of the existing patterns of felt and carpet of the Mongols, in order to provide the design basis for the modern designers. In order to achieve the goal of inheritance and development. The main innovations of this paper are as follows: first, the theory of homologous distribution of Mongolian traditional felt blanket is put forward. They all come into being in the nomadic life of the Mongolians. As a result of the change of the way of life and the way of living, the scope of use of felt blanket is different, and the decorative characteristics of the blanket are also obviously different. Secondly, the decorative features of felt embroidery art are analyzed and summarized. It is concluded that the traditional Mongolian felt decorative art preserves the Mongolian traditional aesthetics more than the Mongolian traditional tapestry. Modern Mongolian traditional tapestry has become the product of multiculturalism.
【學(xué)位授予單位】：內(nèi)蒙古農(nóng)業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J527

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 張瑾;寧國(guó)強(qiáng);;內(nèi)蒙古“阿左”路仿古栽絨毯的圖案及配色分析[J];神州民俗(學(xué)術(shù)版);2011年01期

相關(guān)碩士學(xué)位論文 前1條

1 李偉偉;毛氈在家居用品中的應(yīng)用研究[D];東華大學(xué);2012年

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本文編號(hào)：2303600