甘肃卓尼藏族龙纹图形研究

发布时间：2018-04-25 05:33

本文选题：卓尼藏族 + 龙纹图形　；参考：《中央民族大学》2010年博士论文

【摘要】： 龙纹图形是以卓尼藏族地区“万物有灵”思想为基础；以地理环境、多元文化、宗教形式为依托,经过长期的相互融合演变,从而形成的带有浓郁民族性、地域性特点和内涵的艺术形式,它不但积淀和保留了较多的原始文化特点,同时它还吸收和融合了较多的外来文化因素,可谓兼容并蓄、博采众长。龙纹图形的表现形式和精神内涵,不但展示了卓尼藏族艺术的无限魅力,还是构建卓尼藏族社会人与人、人与物、人与自然和谐发展的重要内容之一,更是卓尼藏族地区人们精神、理想、价值观、审美观的集中体现。近年来龙纹图形受到越来越多研究学者的关心和重视,成为研究卓尼藏族地区自然、历史、政治、文化的重要史料。本文在前人研究的基础上,以卓尼藏族地区龙纹图形实物为基础,通过对以往藏传佛教艺术基础文献、代表性著作以及图像研究的回顾和分析。对卓尼藏族龙纹图形的分布、形成要素、艺术特征、文化内涵以及存在价值等问题进行了探索和研究,并明确地提出了研究的立场和观点。全文共分绪论和五章,一个彩图附录和近百张白描插图。概括介绍了中外学者在研究方面的主要成果和研究现状。利用人类学理论和田野调查方法,从卓尼藏族的自然地理、宗教文化、风俗习惯入手,分别对龙纹图形的重点分布区域和样式、龙纹图形的形成和发展变化规律、龙纹图形的艺术特征和精神内涵以及龙纹图形所包含的深刻哲理和精神内涵,对建立具有中国特色的现代设计理念和存在价值等问题进行了探索和研究,并明确地提出了研究的立场和观点。研究以田野调查为依据,通过对卓尼藏族龙纹图形中所蕴含的精神本质和文化内涵分析,摆脱了以往在艺术图形研究中偏重于艺术特征和表现方法的现象,系统地解析了卓尼藏族龙纹图形的文化内涵和发展脉络,为深层次地了解卓尼藏族人们的精神世界和审美意向,进一步研究卓尼藏族地区的文化艺术提供一个新的思路。研究表明龙纹图形作为一种象征符号,不同时期的龙纹都不同程度的受到了当时社会文化的影响。其外在形式的多样性、复杂性,不但体现了一种根植于本土文化和生存环境并不断与外来文化融合与重组的文化传统,也集中体现了卓尼藏族人民对现实生活的感悟、对美好幸福生活的向往和对自然的崇拜与敬慕。龙纹图形中充满智慧的处世哲学、强调善恶分辨的道德观念和圆融自然的信仰体系,为建立中国现代艺术设计的发展模式和方向提供了一个新的思路,也为建立具有中华民族文化特色的现代设计体系找到了最佳的契合点。同时,对重新构建当今社会人与自然和谐发展的理论和实践,也具有重要借鉴意义和启示作用。
[Abstract]:The dragon pattern is based on the thought of "everything is alive" in the Zhongni Tibetan region. It is based on the geographical environment, multicultural and religious forms, and has evolved through a long period of mutual integration, thus forming a strong national character. Regional characteristics and connotation of the art form, it not only accumulated and retained more original cultural characteristics, at the same time, it also absorbed and integrated more foreign cultural factors, it can be said to be all-inclusive. The expression form and spiritual connotation of dragon patterns not only show the infinite charm of Zhoni Tibetan art, but also constitute one of the important contents of the harmonious development of people and people, people and things, people and nature in the construction of Zhuoni Tibetan society. The spirit, ideal, values and aesthetics of the Zang nationality people are embodied. In recent years, the dragon pattern has been paid more and more attention by more and more scholars, and has become an important historical material for the study of the natural, historical, political and cultural aspects of the Zhoni Tibetan region. On the basis of previous studies, this paper reviews and analyzes the previous literature on Tibetan Buddhism art, representative works and images based on the dragon pattern of Zhongni Tibetan region. This paper explores and studies the distribution, forming elements, artistic characteristics, cultural connotation and existing value of Zhongni Tibetan dragon pattern, and puts forward the standpoint and viewpoint of the research. The full text is divided into introduction and five chapters, a color map appendix and nearly 100 illustrations. This paper briefly introduces the main achievements and research status of Chinese and foreign scholars in the field of research. By using anthropological theory and field investigation, starting with the natural geography, religious culture, customs and habits of Zhongni Tibetans, the main distribution areas and patterns of dragon patterns, the formation and development of dragon patterns are discussed respectively. The artistic features and spiritual connotations of dragon patterns, as well as the profound philosophical and spiritual connotations of dragon patterns, have been explored and studied on the establishment of modern design concepts and existing values with Chinese characteristics. And clearly put forward the research position and point of view. On the basis of field investigation, through the analysis of the spiritual essence and cultural connotation contained in the Zhoni Tibetan dragon pattern, the author gets rid of the phenomenon that emphasis on artistic characteristics and methods of expression is attached to the study of artistic graphics in the past. This paper systematically analyzes the cultural connotation and development context of Zhoni Tibetan dragon pattern, and provides a new way of thinking for further understanding the spiritual world and aesthetic intention of the Zhoni Tibetan people and further studying the culture and art in the Zhoni Tibetan region. The study shows that dragon pattern as a symbol of different periods are affected by different degrees of social culture. The diversity and complexity of its external forms not only embodies a cultural tradition rooted in local culture and living environment and constantly merged and reorganized with foreign cultures, but also embodies the Zhoni Tibetan people's perception of real life. Yearning for a better and happy life and adoration and admiration for nature. The philosophy of dealing with the world with wisdom in the dragon pattern, emphasizing the moral concept of distinguishing good from evil and the harmonious belief system of nature, provides a new way of thinking for the establishment of the development mode and direction of Chinese modern art design. Also found the best fit for the establishment of the modern design system with Chinese cultural characteristics. At the same time, it is of great significance and enlightenment to reconstruct the theory and practice of harmonious development between man and nature.
【学位授予单位】：中央民族大学
【学位级别】：博士
【学位授予年份】：2010
【分类号】：K876.3

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