蒙古族传统毡毯装饰特征研究
发布时间：2018-10-31 21:23
【摘要】： 游牧民族的主要纤维原料是蒙古族传统工艺美术的重要组成部分。羊毛加工制成的毡毯,长期以来不仅是他们的服装、建筑和起居用品,也是他们美化生活的主要载体和寄托审美的重要实物。 本文从蒙古族传统毡制品的装饰特征入手,与蒙古族传统手工栽绒毯进行对比,从民俗学、图案学、设计学的角度,结合蒙古民族的生活习俗、宗教信仰等传统文化因素予以研究分析,对蒙古族毡制品和栽绒毯的装饰及图案特征进行了提炼和总结,重点研究了作为北方游牧民族具有代表性的毛织物——毡、毯在历史进程中,受社会影响而选择的不同发展路线。1271年,忽必烈建立大元,蒙古游牧民族入主中原,使其居住方式移动式建筑转向固定式建筑方向发展;明朝一代,北元政权退居漠北,蒙古族返回移动式建筑状态;清朝满、蒙贵族再次进入定居生活。生活方式的转变,影响了毡、毯的使用方式和范围。 通过比对分析,挖掘毡绣图案纹样的装饰特征,剖析蒙古族栽绒毯纹样丰富的缘由,整理蒙古族现存毡、毯图案的人文背景,旨在为现代设计者提供设计依据,以达到传承发展的目的。 本论文的主要创新点为: 第一,提出蒙古族传统毡毯同源分流理论。它们都产生于蒙古族游牧生活当中,其后因生活方式和居住方式的改变,毡毯的使用范围出现差异,其装饰特征也产生明显不同。 第二,分析归纳了毡绣艺术的装饰特征。得出蒙古族传统毡制品装饰艺术比蒙古族传统栽绒毯装饰艺术更多保留了蒙古族传统审美。近现代蒙古族传统栽绒毯已成为多元文化影响的产物。
[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.
【学位授予单位】：内蒙古农业大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J527
本文编号：2303600
[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.
【学位授予单位】：内蒙古农业大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J527
【引证文献】
相关期刊论文 前1条
1 张瑾;宁国强;;内蒙古“阿左”路仿古栽绒毯的图案及配色分析[J];神州民俗(学术版);2011年01期
相关硕士学位论文 前1条
1 李伟伟;毛毡在家居用品中的应用研究[D];东华大学;2012年
，本文编号：2303600
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