西南氐羌民族审美观念研究

发布时间：2019-06-01 17:42

【摘要】：中国西南是人类重要的发祥地,是元谋人的故乡,各种远古文化遗存极为丰富。西南氐羌民族作为西南少数民族中最大的群体,它在许多方面同中国传统文化具有密切的联系。它保留了大量的原生态的古老文明传统、风俗习惯、原始信仰和审美观念,成为研究远古文明的重要活化石。本论文以中华民族多元一体为基本思路,深入研究在这一背景下西南氐羌民族审美观念所具有的独特文化Qg涵,从中探寻西南氐羌民族在审美观念方面与中国传统文化之间的渊源关系,并以此推动少数民族美学的研究。论文除引言和结语外,共分为五章。第一章论述的是氐羌民族文化源流。分为三节.第一节是从古代文献记载中梳理与氐羌民族有关的资料,对氐羌民族的由来以及对历史上民族发展和形成所产生的影响有一个全面的认识和了解,尤其是古代的氐羌与汉民族和西南少数民族的关系。第二节论述的是西南少数民族中的氐羌民族.西南少数民族中属于由古代氐羌族群演变发展来的或是与氐羌有密切关系的民族主要有彝族、藏族、白族、纳西族、哈尼族、景颇族、阿昌族、拉祜族、傈僳族、普米族,怒族、独龙族等。这些民族多数都集中聚居在一起,体现出氐羌民族的许多共性和心理特征。第三节论述的是氐羌民族文化的流变。氐羌是最早生活于西北甘、青一带的古老游牧部落的总称,后来随着氐羌族群的分化而四处扩散,不断往来游动于从西北到西南乃至中原一带的广大地区,因而长期以来同很多族群的关系非常密切,彼此之间有融合,有分化,在融合与分化中出现了文化变异。第二章论述的是西南氐羌民族审美观念的形成。分为三节。第一节论述的是地理环境对西南氐羌民族审美观念带来的影响。西南氐羌民族大都聚居在一些海拔较高和交通不变的山区,属于典型的山地民族,因而他们的审美观念与山地的自然环境特征有密切关系。第二节是从历史上的民族迁徙探讨氐羌民族审美观念形成的原因。氐羌民族在历史上是一个不断迁徙的民族,西南氐羌民族更是从遥远的西北来到西南,这使得他们的审美观念往往与祖先崇拜和图腾崇拜联系在一起,表现出强烈的问祖和归宗的意识。第三节是从原始宗教信仰方面论述西南氐羌民族审美观念形成的深层根源。西南氐羌民族由于自然环境和民族迁徙等原因,原始宗教信仰尤为突出,这使得他们的审美观念带有浓厚的原始宗教色彩,并且和“巫”联系在一起。第三章论述的是审美观念的内涵。分为三节。第一节是神巫意识。这是西南氐羌民族审美观念中最突出的文化特征,它是指审美活动中表现出的一种原始神性心理,它不同于一般的神性心理,主要在于它与“巫”联系在一起,这是原始宗教观念屾予的。由于生存的需要,他们不得不借助于神灵的庇护,在这种情况下,也就产生了强烈的神巫观念。在他们的信仰世界中,“神”和“巫”
[Abstract]:The southwest of China is an important place for mankind, and it is the hometown of the Yuanmou. As the largest group in the southwest minority, the southwest China's Republic of China has a close relationship with the Chinese traditional culture in many respects. It retains a great deal of the ancient and ancient civilization tradition, the customs, the original belief and the aesthetic concept, and has become an important living fossil to study the ancient civilization. This paper, based on the multi-element integration of the Chinese nation, deeply studies the unique cultural Qg-culvert which is possessed by the national aesthetic concept of the southwest China's Republic of China under this background, and then explores the relationship between the Chinese people and the Chinese people in the view of the aesthetic concept. The relationship between the system and the culture, and A study of the aesthetics of dynamic minorities. And is divided into five chapters. The first chapter discusses the origin of the national culture of the Republic of China. It is divided into three sections. The first section is to sort out the information about the nationality of the Republic of China from the ancient literature, and to have a comprehensive understanding and understanding of the influence of the national development and the formation of the history. It is the gateway of the ancient Chinese and the Han and the southwest minority. The second section deals with the minority nationality in the southwest minority. The minority of the southwest belongs to the ethnic group, which is developed by the ancient Chinese Qiang ethnic group, or is closely related to the ethnic group. The ethnic group is mainly Yi, the Tibetan, the Bai, the Naxi, the Hani, the Jingpo and the Achang. A family, a family, a family, a family of people, a family of a family, a family of a family, a family, a family, a family, a family, a family, a family, a family, a family, a family, a family, a family Together, it embodies many of the commonness of the Republic of China and the people of the Republic of China. The third section deals with the development of the national culture of the Republic of China, which is the general name of the ancient nomadic tribes, which lived in the northwest, Gansu and the Qinghai, and then spread around with the differentiation of the Qiangqiang Group, and constantly moved to the general area from the northwest to the southwest and even in the Central Plains. The region, therefore, has long been very close to many ethnic groups, with each other The fusion and differentiation have the cultural variation in the fusion and differentiation. . The second chapter discusses the formation of the aesthetic concept of the minority nationality in the southwest. It is divided into three sections. The first section discusses the influence of the geographical environment on the national aesthetic concept of the southwest China's Republic of China. Most of the minority nationalities in the southwest are concentrated in some mountainous areas with higher elevation and constant traffic. The typical mountain nations, so their aesthetic conception and the natural environment of the mountain are closely related The second section is the reason of the formation of the national aesthetic concept of the Republic of China from the history of the migration of the ethnic group. The ethnic group of the Republic of China is an ever-moving nation in history, and the ethnic group of the southwest is from the remote north-west to the southwest, which makes them aesthetic. It is often associated with the worship of the ancestors and the worship of the Tumen, and shows a strong sense of questioning and return. The third section is to discuss the deep root causes of the formation of the aesthetic concept of the minority nationality in the southwest China from the aspects of the original religious belief. The origin of the original religious belief is especially prominent due to the natural environment and the movement of the ethnic group, which makes their aesthetic concept rich. thick, primitive religious color, and "Wu Contact In the third chapter, the connotation of aesthetic concept is discussed in the third chapter. It is divided into three sections. The first section is the witch consciousness. This is the most prominent cultural feature in the national aesthetic concept of the southwest China's Republic of China. It refers to the original spirit of nature that is shown in the aesthetic activities, which is different from that of the general. The essence of the spirit of God is that it is associated with the "Wu", which is the original concept of religion. As a result of the need for survival, they have to resort to a spirit of refuge, in which case a strong sense of witchcraft is created.
【学位授予单位】：武汉大学
【学位级别】：博士
【学位授予年份】：2004
【分类号】：C95

【相似文献】