楚国刺绣艺术研究

发布时间：2018-03-10 15:11

本文选题：楚国　切入点：刺绣艺术　出处：《苏州大学》2012年博士论文　论文类型：学位论文

【摘要】：本文的核心内容是对楚国刺绣艺术的内在文化结构、文化精神，以及外在形式语言、艺术特征的研究。在此基础上，考察楚国刺绣艺术的生长源泉，探析其与地域古老民族传统文化的内在联系；同时理清楚国刺绣艺术的传播渠道，通过时空流变的观察和分析，阐述其广泛而深远的影响。基于上述研究内容，本文主要是从“道”和“器”这二个层面来进行研究。所谓“道”是指传统文化的精神内涵，“器”则是指传统文化的器物实体。在现代考古学大量实物发现的基础上，结合古今“道”之研究在历史学、哲学、美学、文学、艺术学、民族学、民俗学、神话学等方面的斐然成果，深入分析探索楚国刺绣艺术的外在形貌特点和内在文化精神，从而达到“见其器而知其道”的目的。通过研究，本文首先发现楚国刺绣艺术与北方中原华夏艺术有着迥异的艺术特征，其内在文化结构、文化精神与长江中下游地域的古老文化传统连成一体，表明了其自身的历史渊源；同时，由于楚国刺绣艺术的母体楚文化是多元一体的文化性质，因此楚国刺绣艺术的文化性质也呈现出多元的特性，但其主导的文化影响力来源于地域古老的以苗蛮为代表的民族传统文化和新兴的道家文化。其次，楚国刺绣艺术的核心内容是凤龙文化。其特殊指向性的文化内涵体现了南方古老稻作农耕民族的凤文化和北方古老游牧民族的龙文化之间亲缘般的融合，，但其“崇凤轻龙”高度特化的文化模式是凤文化精神主导的显示。楚国刺绣艺术外在奇异的造型特征不仅是南方古老民族传统文化之神秘主义意识倾向的反映，同时也表明了新兴道家文化的美学观之“法天”、“齐物”、“神遇”的深刻影响。再者，楚国刺绣艺术外在造型和色彩有着自身文化传统造型观和色彩观的渊流脉络，其“惊采绝艳”的艺术特征还显示了其对于中华传统艺术美学的高度概括与总结。最后，楚国刺绣艺术成为其时代中华刺绣工艺文化高度发达之表征的内因：一是楚地优良的织绣文化传统；二是统治者的豪奢以及“好奇服”氛围下对丝织、丝绣品的大量社会需求；三是楚国重商多贾，织绣品贸易非常发达之故。总之，楚国刺绣艺术是地域古老民族刺绣工艺文化传统的重要历史篇章，它附载着地域优秀刺绣文明的精华和楚人悟性、智慧的独特创造广为后世传承。其独具特色的艺术构思和表现手法成为后世民族艺术的典范，并同时为地域刺绣工艺文化的发展和近现代转型提供了取之不尽的丰富资源。
[Abstract]:The core content of this paper is to study the internal cultural structure, cultural spirit, external formal language and artistic characteristics of embroidery art in Chu. On this basis, the growth source of embroidery art in Chu is investigated. At the same time, it clarifies the communication channels of embroidery art in Chu state, and expounds its extensive and far-reaching influence through the observation and analysis of space-time evolution. Based on the above research, This article is mainly from the two aspects of "Tao" and "vessel". The so-called "Tao" refers to the spiritual connotation of traditional culture, and the "instrument" refers to the objects of traditional culture. On the basis of a large number of physical discoveries in modern archaeology, Combining with the outstanding achievements in history, philosophy, aesthetics, literature, art, ethnology, folklore, mythology and so on in the study of Tao in ancient and modern times, this paper deeply analyzes and explores the external appearance characteristics and inner cultural spirit of embroidery art in Chu. In order to achieve the purpose of "see its instrument and know its way". First of all, this paper finds out that the embroidery art of Chu and the Chinese art of the Central Plains of North China have quite different artistic characteristics, and their internal cultural structure, cultural spirit and the ancient cultural tradition in the middle and lower reaches of the Yangtze River are integrated together. It shows its own historical origin, at the same time, because the mother Chu culture of the embroidery art of Chu is a pluralistic cultural nature, the cultural nature of the embroidery art of Chu also presents the pluralistic characteristics. But its dominant cultural influence comes from the ancient regional traditional culture represented by Miao Man and the emerging Taoist culture. The core content of embroidery art in Chu state is Fenglong culture. Its special directional cultural connotation embodies the kinship fusion between the Phoenix culture of the ancient rice farming nation in the south and the dragon culture of the ancient nomadic people in the north. However, its highly specialized cultural mode of "worshipping Phoenix and light dragon" is a manifestation of the spirit of Phoenix culture. The strange modeling features of embroidery art in Chu state are not only the reflection of the mysticism consciousness tendency of the ancient national culture of the South, but also of the spirit of Phoenix culture. At the same time, it also shows the profound influence of the aesthetic views of the emerging Taoist culture, such as "Fatian", "Qi" and "Shenyue". Furthermore, the external modeling and color of embroidery art in Chu have the deep influence of their own cultural traditional modeling view and color view. Its artistic features of "amazing beauty" also show that it has a high degree of generalization and summary of traditional Chinese art aesthetics. Finally, The art of embroidery in Chu state has become the internal cause of the highly developed Chinese embroidery culture in its time: first, the fine cultural tradition of embroidery in Chu, second, the luxury of rulers and the large social demand for silk weaving and embroidery under the atmosphere of "curious clothing"; Third, Chu state business, weaving and embroidery trade is very developed. In short, the embroidery art of Chu is an important historical chapter of the cultural tradition of ancient ethnic embroidery in the region. It contains the essence of the excellent embroidery civilization in the region and the understanding of the Chu people. The unique creation of wisdom has been widely inherited from later generations, and its unique artistic conception and expression techniques have become the models of the later national art, and at the same time provide inexhaustible resources for the development of regional embroidery technology culture and the transformation of modern and modern times.
【学位授予单位】：苏州大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J523.6

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