【摘要】：追溯歷史,成吉思汗統(tǒng)一蒙古各部后大力倡導(dǎo)軍事,搏克是軍事訓(xùn)練的主要內(nèi)容,更是選兵點(diǎn)將的重要依據(jù),這種訓(xùn)練滿足了蒙古族生存、戰(zhàn)爭、強(qiáng)身健體等各方面的需要。政權(quán)穩(wěn)定以后其軍事功能弱化,逐步變?yōu)閵蕵犯偧蓟顒?dòng)。盡管元朝之后的幾百年里,草原經(jīng)歷了政權(quán)更替,時(shí)代變遷,但搏克運(yùn)動(dòng)從未間斷過。搏克發(fā)展到清朝中后期在中國的內(nèi)蒙古草原的不同地區(qū)主要形成四大流派,由于部落的歷史文化和風(fēng)俗習(xí)慣的限制導(dǎo)致了搏克服飾審美的不同,各地方搏克服飾款式也各有分別。其中蒙古族搏克文化習(xí)俗保存最完好的是烏珠穆沁草原,它被稱為北方少數(shù)民族摔跤手的搖籃。烏珠穆沁的搏克服飾歷史最為久遠(yuǎn),其發(fā)展一直延續(xù)至今,因此烏珠穆沁搏克服飾具有較高的藝術(shù)研究價(jià)值。搏克服飾圖案,經(jīng)歷了數(shù)百年的傳承與發(fā)展并持續(xù)繁榮,彰顯出了蒙古族的才智、技能與文化。它用自身的藝術(shù)形式展現(xiàn)著蒙古族的美學(xué)觀和價(jià)值觀,是蒙古族文化特色的藝術(shù)珍寶。了解、保護(hù)重要的民族文化遺產(chǎn),將它完整的傳承下去是我們責(zé)無旁貸的歷史職責(zé)。通過對(duì)現(xiàn)有的搏克服飾圖案發(fā)掘并整理,能夠豐富現(xiàn)代設(shè)計(jì)造型手段,為民族品牌的設(shè)計(jì)提供新的養(yǎng)分。本論文主要分為三部分,第一部分介紹了搏克服飾的起源與發(fā)展,主要是從歷史發(fā)展的脈絡(luò)進(jìn)行敘述,分別是漢代飾牌紋樣的兩人角斗紋樣到元代設(shè)有專門的體育機(jī)構(gòu)制定專供跤衣；清代搏克服飾樣式的基本確立到現(xiàn)代制作精良的搏克服飾。搜集各個(gè)時(shí)期的文物和文獻(xiàn)記載,便于我們了解搏克服飾逐步演變的過程。描述烏珠穆沁搏克服飾的特點(diǎn),從搏克服飾的構(gòu)成部分進(jìn)行說明,分別從護(hù)身頸結(jié)圈、摔跤衣、摔跤裙、摔跤褲與套褲、靴子與靴捆五個(gè)部分進(jìn)行了大量的文字與圖片分析,整理出烏珠穆沁搏克服飾的服飾規(guī)格,并分析服飾背后蘊(yùn)藏的寓意象征和美好祝福。第二部分從搏克服飾圖案藝術(shù)形態(tài)和呈現(xiàn)方式進(jìn)行論述,主要有烏珠穆沁搏克服飾的代表元素、構(gòu)成形式、裝飾規(guī)律、呈現(xiàn)方式四個(gè)部分,從視圖案分析的角度去研究烏珠穆沁搏克服飾圖案的設(shè)計(jì)形式的基礎(chǔ)構(gòu)成以及服飾圖案背后自強(qiáng)不息精神的、觀念的、心理的、情感的、意志的、審美的深層次內(nèi)容。第三部分主要從藝術(shù)應(yīng)用價(jià)值角度表述在當(dāng)今社會(huì)背景下,烏珠穆沁搏克服飾的圖案如何能融入新的時(shí)代潮流,成為一種民族文化新風(fēng)尚。突出烏珠穆沁搏克服飾圖案所展現(xiàn)的魅力,在保留重要的文化積淀和審美情趣的基礎(chǔ)上,有效達(dá)到傳播搏克服飾文化的目標(biāo)。在設(shè)計(jì)應(yīng)用方面我以《鷹舞》、《傳授》、《比賽》、《延續(xù)》四個(gè)主題的裝飾畫為載體,通過對(duì)色彩和圖案的提煉,加之立體的呈現(xiàn)方式表現(xiàn),使之成為標(biāo)志性的符號(hào)。
[Abstract]:Tracing back to the history, Genghis Khan strongly advocated the military after unifying the Mongolian ministries, and Polk was the main content of military training and an important basis for the selection of soldiers. This kind of training satisfied the needs of Mongolian survival, war, physical fitness and so on. After the stability of the regime, its military function was weakened and gradually turned into recreational and competitive activities. Although the grassland experienced regime change and time change in the hundred years after Yuan Dynasty, the Boque movement never stopped. Boke developed to the middle and late Qing Dynasty and formed four major schools in different areas of Inner Mongolia steppe in China. Due to the limitation of tribal history, culture and customs, Boke's dress appreciation was different. There are also different styles of Booker clothing in different places. The Mongolian Boke culture and customs are best preserved in Wuzhoumuqin Prairie, which is known as the cradle of the wrestlers of the northern ethnic minorities. The history of Wuzhoumuqin's Bock dress is the longest, and its development has been going on up to now, so it has high artistic research value. The design of Booker dress has been passed on and developed for hundreds of years and has continued to flourish, showing the talents, skills and culture of the Mongols. With its own artistic form, it shows the Mongolian aesthetic outlook and values, and is an art treasure with Mongolian cultural characteristics. Understand, protect the important national cultural heritage, it is our historical duty to inherit it intact. By excavating and sorting out the existing Booker clothing patterns, it can enrich the modern design methods and provide new nutrients for the design of national brands. This paper is mainly divided into three parts. The first part introduces the origin and development of Booker clothing, mainly from the historical development of the context of the narrative. Han Dynasty decoration card pattern of two people fighting pattern to the Yuan Dynasty has a special sports organization to set up for fall clothes; The basic establishment of the style of Boke dress in Qing Dynasty came to the modern well-made Bock dress. Collection of cultural relics and documentary records of each period, facilitate us to understand the gradual evolution of Bork clothing process. This paper describes the characteristics of the dress of Uzhoumuqinbok, explains the components of the dress, and analyzes a great deal of text and pictures from the five parts of the body, such as neck knot, wrestling dress, wrestling skirt, wrestling trousers and overalls, boots and boots bundles. Arrange the dress specification of the dress of Wuzhoumuqinbok, and analyze the symbol of implication and the blessing of beauty behind the dress. The second part discusses the artistic form and presentation mode of Bock clothing pattern, mainly including the representative elements, the form of composition, the decorative law, the presentation mode of the dress, and the four parts of the presentation mode, including the representative elements of the dress, the form of the decoration, the pattern of decoration and the way of presentation. From the angle of visual pattern analysis, this paper studies the basic structure of the design form of the dress pattern of Uzzamudinbok and the deep content of the self-improvement spirit, the idea, the psychology, the emotion, the will and the aesthetic behind the dress pattern. The third part mainly from the artistic application value angle in the present society background, how the design of the Wudhumuqinbok clothing can melt into the new times trend, becomes a kind of national culture new fashion. On the basis of preserving the important cultural accumulation and aesthetic interest, we can effectively achieve the goal of spreading Booker dress culture. In the aspect of design application, I take the decorative paintings of the four themes of "Eagle Dance", "imparting", "Competition" and "continuation" as the carrier. Through the extraction of colors and patterns, and the expression of stereoscopic presentation, I make it a symbolic symbol.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：TS941.2

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