蒙古族的马鞍艺术

发布时间：2018-05-29 13:51

本文选题：黑鞑事略 + 彭大雅　；参考：《美术》2014年10期

【摘要】：正"其鞍辔轻简,以使驰骋,重不盈七八斤,鞍之雁翅,前竖而后平,故折旋而膊不伤;镫圆,故足中立而不偏;底阔,故靴易入。缀镫之革,手揉而不硝,灌以羊脂,故受雨而不断烂,阔才逾一寸,长不逮四总,故立马转身至顺。"从宋朝彭大雅在《黑鞑事略》中对蒙古马鞍的描述,可以看出古代蒙古人对马鞍的钟情。蒙古族自古就以"马背民族"著称,马与蒙古民族的方方面面有着不解之缘,于是围绕马的主题,在绘画、雕刻、刺绣
[Abstract]:"its saddle is light, so that gallop, heavy not surplus seven or eight jin, saddle's wings, before vertical and flat, so turn and not hurt; stirrups round, foot neutral and not biased; the bottom wide, so the boot easy to enter." The leather of the stirrups, the hand kneads but does not nitrite, irrigates with the sheep fat, therefore receives the rain but unceasingly rotten, the width just exceeds an inch, grows does not catch four total, therefore immediately turns round to be smooth. " From the description of Mongolian saddle by Peng Daya in Black Tatar in Song Dynasty, we can see the love of saddle in ancient Mongols. Since ancient times, the Mongolian are famous for the "horseback nationality". The horse is closely related to all aspects of the Mongolian nationality, so it revolves around the theme of the horse, painting, carving, and embroidery.
【作者单位】：内蒙古师范大学美术学院;苏州科技学院传媒与艺术学院;
【分类号】：J0

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