湘西苗族踏虎凿花研究

发布时间：2019-05-12 09:31

【摘要】：湘西苗族传统手工艺“踏虎凿花”是民间剪纸艺术的一种特殊形态，作为一种具有物质形态和文化内涵的民间手工艺品，凝聚着大量的历史信息和时代信息。本文选择艺术民俗学和历史学的研究方法，以田野调查所获得的图文资料和口述资料为分析对象，探讨“踏虎凿花”与苗族服饰、地域文化的关联，认为“踏虎凿花”是文化涵化、文化交流的成果。民间艺人将凿纸纹样创造性的用于苗族服装的刺绣底稿，使剪纸艺术不仅能满足民众节庆期间装饰、审美需求，也能满足苗族刺绣日益复杂精致的发展需求，并成为一部分精于凿纸工艺的民间艺人的谋生手段，从深度和广度上拓展了凿纸功能。凿纸作品花样复杂、图案精美，从构图上丰富了刺绣的表现手段。对踏虎凿花的传承分析显示“踏虎凿花”的出现改变了民间剪纸以女性为主体的创作格局，形成了一批以男性为主的行商---凿花匠。“踏虎凿花”从原生态剪纸，经历工具变迁成为“凿纸”，并最终成为国家非遗从而走向城市化、产业化的发展道路。对其变迁动因进行分析，得出“踏虎凿花”的变迁经历了多种合力的作用，物质生产方式的根本变革、乡土社会中的人群涌入城市引起的文化场的移位、民族国家文化的发展需求、民众闲暇生活方式的转换、外部环境的变化和外来文化的影响都在或深或浅地影响着踏虎凿花的变化。作为传承凿花的中坚力量，传承人们对凿花的认识经历了从自然到文化自觉的发展过程。凿花艺人们从民间艺人到行商，，从凿花工艺的自然习得者到主动学习者和保护者，通过身份转变，不断顺应时代变化。“踏虎凿花”通过吸收、借鉴符合大众审美观念的图案、装饰技巧和营销手段，不断创新其表现形式，体现了民俗文化顽强的生命力。其成功的变化过程值得众多非物质文化遗产借鉴和参照。
[Abstract]:The traditional handicraft of Miao nationality in western Hunan is a special form of folk paper-cut art. As a kind of folk handicraft with material form and cultural connotation, it condenses a lot of historical information and information of the times. In this paper, the research methods of art folklore and history are selected, and the graphic and oral data obtained from field investigation are taken as the object of analysis, and the relationship between "treading tiger chisel flowers" and Miao dress and regional culture is discussed. Think "step tiger chisel flower" is cultural acculturation, cultural exchange achievement. Folk artists creatively use paper chisel patterns in embroidered manuscripts of Miao clothing, so that paper-cut art can not only meet the decoration and aesthetic needs of the people during the festival, but also meet the increasingly complex and exquisite development needs of Miao embroidery. And become a part of the folk artists who are good at chisel technology to make a living, from the depth and breadth of the expansion of the function of paper chisel. Chisel works have complex patterns and exquisite patterns, which enrich the means of embroidery from the composition. The inheritance analysis of treading tiger chisel flowers shows that the emergence of "treading tiger chisel flowers" has changed the creation pattern of folk paper-cut with women as the main body, and formed a group of male-dominated businessmen-chisel gardeners. "step tiger chisel flower" from the original ecological paper-cut, through the change of tools to "chisel paper", and finally become a national non-legacy to urbanization, industrialization of the development road. By analyzing the causes of its changes, it is concluded that the changes of "treading tigers and chiseling flowers" have experienced a variety of joint forces, the fundamental change of material mode of production, and the displacement of cultural fields caused by the influx of people into the city in the local society. The development demand of nation-state culture, the transformation of people's leisure life style, the change of external environment and the influence of foreign culture all have a deep or shallow influence on the change of treading tiger chisel flowers. As the backbone of inheriting and chiseling flowers, people's understanding of chiseling flowers has gone through the development process from nature to cultural consciousness. Chisel flower artists from folk artists to businessmen, from the natural acquisition of flower chisel to active learners and protectors, through identity change, constantly adapt to the changes of the times. By absorbing, drawing lessons from the patterns, decorative skills and marketing means in line with the aesthetic concept of the masses, "treading tiger chisel flowers" constantly innovates its forms of expression and embodies the tenacious vitality of folk culture. Its successful process of change is worthy of reference and reference for many intangible cultural heritages.
【学位授予单位】：赣南师范学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J528.1

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