广西苗族芒篙面具与毛南族木面具的考察与研究

发布时间：2018-01-13 23:10

本文关键词：广西苗族芒篙面具与毛南族木面具的考察与研究　出处：《广西师范大学》2012年硕士论文　论文类型：学位论文

更多相关文章： 广西苗族 毛南族 芒篙面具 木面具

【摘要】：面具在中国浩翰的民间美术形态中及日常生活运用中有着极其重要的地位,从祭祀用的傩面到娱乐使用的戏剧脸谱,一直伴随着各民族文化流传和发展。面具从表象看似乎只是一种装饰物,但实际上它蕴含了各民族在发展时代、居住地域及各自民风民俗等诸多方面的文化。然而,不同时代、不同地域、不同民族所创造的面具造型特征与所体现的文化内涵各有不同。广西融水苗族自治县与环江毛南族集聚地区,在宗教祭祀活动中出现的面具,其内容代表了该族所信奉的神灵和祖先,他们认为这些面具有超自然力量,能为族人驱灾降福。本文以广西融水苗族面具和毛南族木面为研究对象,将面具的起源、审美、造型三个方面作为切入点,综合运用美术比较、心理学理论、文化人类学理论等多种研究方法进行分析阐述,在了解和研究广西融水苗族与毛南族面具艺术及文化价值的同时,探讨了广西融水苗族和毛南族面具艺术对中国现代绘画的启示以及其在美术教育领域应用的可能性。主要内容如下：一、以广西融水苗族和毛南族的历史文化起源和发展为背景,以美国心理学家马斯洛提出的人类心理五种需求观点和毛南族民俗文化为理论基础,对广西融水苗族面具和毛南族木面的起源及发展脉络进行了严密的分析和推理论证。二、探讨和比较了广西融水苗族和毛南族面具艺术的审美文化,论述了苗族芒篙面具呈现出的崇高美和狞历美两种美学特征,对毛南族木刻面具的秀美与质朴美特质进行了分析比较。三、横向比较广西融水苗族和毛南族面具的造型特征,分析归纳了两种面具在美术形式上的异同性。四、总结广西融水面具艺术对现代绘画的启示,从广西融水苗族芒篙面具独特造型中探讨中国现代重彩画家胡永凯人物画造型语言的新探索。此外,根据我国基础教育改革要求,阐述了广西面具艺术对地方美术课程资源开发的意义。
[Abstract]:The mask plays a very important role in the folk art form and the daily life application of Haorham in China . It has always been accompanied by the spread and development of various ethnic cultures . The mask appears to be a kind of ornament from the appearance . However , it contains various nationalities in the development era , the residential area and the folk custom of the respective folk custom . However , the different times , different regions , the different nationalities have created the mask modeling features and the embodied cultural connotation . In the gathering area of Rongshui Miao Autonomous County and Huanjiang Maonan ethnic group in Guangxi , the content of the mask appeared in the religious sacrifice activities , which represented the gods and ancestors believed by the family . They believed that these faces had supernatural power and could be used to drive the people to benefit from the disaster . Based on the research object of Guangxi Rongshui Miao nationality mask and Maonan nationality , this paper analyzes the origin , aesthetics and shape of the mask as the entry points , and comprehensively applies various research methods , such as art comparison , psychology theory and cultural anthropology theory , and discusses the enlightenment of Guangxi Rongshui Miao and Maonan mask art on Chinese modern painting and the possibility of its application in the field of art education . The main contents are as follows : First , based on the historical and cultural origin and development of Rongshui Miao and Maonan ethnic groups in Guangxi , the author makes a rigorous analysis and reasoning demonstration of the origin and development of Rongshui Miao and Maonan ethnic groups in Guangxi . 2 . To explore and compare the aesthetic culture of Miao and Maonan ' s mask art in Guangxi , and discuss the two aesthetic characteristics of the noble beauty and the carver beauty of the Miao people ' s mask , and compare the beauty and the beauty of Maonan ' s wood carving mask . Thirdly , compare the modeling features of the Miao and Maonan masks in Guangxi , and analyze the similarities and differences between the two kinds of masks in the form of fine arts . In addition , according to the requirement of the reform of basic education in China , this paper expounds the significance of Guangxi mask art to the development of local fine arts curriculum resources .

【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J528.3

【共引文献】