新疆维吾尔族传统“巴旦木”纹样艺术研究

发布时间：2018-06-25 23:36

本文选题：维吾尔族 + 巴旦木纹样　；参考：《新疆师范大学》2017年硕士论文

【摘要】：新疆古称西域,地处祖国西北边陲、亚欧大陆的腹地,占我国总领土面积的六分之一,其中有最大的内陆河塔里木河,有世界第二大戈壁沙漠塔克拉玛干沙漠,是全国最大的行政区。历史上,这里曾是中西陆路交通的主要通道,自古以来就是一个多民族聚居的地区,有琳琅满目的优质水果,有神秘浓烈的民族风情,恒古千年的历史长河;新疆民风质朴,民族风情浓厚;地理气候得天独厚,四季瓜果不绝于市。新疆也是丝绸之路经济带的重要节点,是辐射亚欧大陆的门户,区位优势极佳,是举世文明的龟兹文化、刀郎文化的发源地,全国四大文明交汇地。巴旦木果产自新疆喀什莎车县,莎车县位于叶尔羌绿洲,叶尔羌绿洲是叶尔羌河喀喇昆仑山一路奔流而下孕育的新疆最大的绿洲。在莎车,巴旦木果树是最常见的果树,几乎家家户户都会种植巴旦木,巴旦木果三月开花,九月结果,一年中进行夏冬两次修剪,已有1300年的种植历史。人们常说,巴旦木的果是长寿果,巴旦木的花是吉祥花。因此,在当地人的生活中处处有着巴旦木的影子,维吾尔族老老少少喜欢佩戴巴旦木纹样的花帽,家里的装饰图案也都以巴旦木纹样图案为主,可以说巴旦木纹样图案是新疆少数民族别具风格的特有图案。本文主要以新疆维吾尔族传统巴旦木纹样图案为基本点,选用维吾尔族的织物、服饰、陶器、木器、铜器、工艺品、建筑、绘画、雕塑等装饰载体作为研究对象,剖析西域维吾尔族传统巴旦木纹样的理论价值和艺术内涵。目前可知有关新疆维吾尔族传统巴旦木纹样的艺术研究多为针对某一载体进行研究,并没有对巴旦木纹样进行系统性、整体性的研究。新疆维吾尔族传统巴旦木纹样的文化研究是新疆区域纹饰图案中不可或缺的一部分。巴旦木纹样当做新疆特有的装饰纹样在维吾尔族的点缀纹样中具有举足轻重的地位。巴旦木纹样之所以能够盛行,一方面与其宗教信仰有关,一方面象征着新疆人民吃苦耐劳,艰苦不屈的精神文明,也体现出地处沙漠地带的维吾尔族人民从生活中挖掘美、提炼美的乐观向上精神。全文共分五个章节,第一章对论文的研究背景、研究现况、研究目的及意义、做了简单的说明。第二章讲述新疆巴旦木果的生物背景、生长的地理环境、营养价值、品种分类等进行有关概述。第三章介绍了维吾尔族巴旦木果与巴旦木纹样的关系、与佩兹利纹样的渊源,与西方文化、维吾尔族人民的关联以及纹样区域认知的象征意义。第四章是全文的重点,主要讲维吾尔族巴旦木纹样的空间组合、主要造型、形式分类、与其他纹样组合、装饰载体、色彩搭配分析进行研究梳理,进一步探讨巴旦木纹样的造型与装饰背后的审美寓意以及蕴藏的宗教信仰。最后一个章节讲述巴旦木纹样的文化因子体现的吉祥文化和宗教信仰。由以上基础性研究得出:维吾尔族艺术的源泉与实践与其宗教信仰有着密切的关联,宗教心理和情感是根深蒂固的,在不断发展的社会中,开放的环境使我们更要深切与本土理论接壤,为维吾尔族文化的继承与发展提供强有力的理论支持。
[Abstract]:Xinjiang, known as the western region, is located in the northwest border of the motherland and the hinterland of the Eurasian continent, accounting for 1/6 of the total territory of our country. Among them the largest inland river Tarim River and the second largest Gobi desert in the Taklimakan Desert in the world are the largest administrative areas in the country. In history, this was the main channel for the traffic of the Chinese and western land, since ancient times It is a multi-ethnic settlement area, with a great variety of high quality fruit, mysterious and strong national customs, and a thousand years of ancient history; Xinjiang folk style is simple, the national style is strong; the geographical climate is unique, the four seasons melon and fruit are not in the city. The Xinjiang is also the important node of the Silk Road through the economic belt, is the portal of the radiating Asia Europe continent, location The advantage is excellent, it is the culture of the world civilization, the birthplace of Dao Lang culture, the intersection of the four civilizations in the whole country. The fruit of Ba Dan is produced from Shache County of Kashi, Shache County of Xinjiang, Shache County in the oasis of leaf and Qiang, and the biggest Oasis in Xinjiang of the Karakoram mountain of the Ye and Qiang river. In Shache, the Basan tree is the most common. The fruit tree, almost every household will grow pads, the Basan fruit blossom in March, September results, two times a year of summer and winter pruning, there is a history of 1300 planting. It is often said that the fruit of the panmu is a longevity fruit, the flowers of the panmu are auspicious flowers. Therefore, the shadow of the panmu, the old Uygur people in the local people's life. The old and young people like to wear the flower hat of the Dadan wood pattern. The decorative patterns of the family are mainly based on the pattern pattern of the bar. It can be said that the pattern pattern of the Xinjiang ethnic minority is unique. This article mainly uses the pattern of the Xinjiang Uygur traditional pattern as the base, and selects the Uygur's fabric, clothing and pottery. Wood, copper, bronze, handicraft, architecture, painting, sculpture and other decorative carriers are used as research objects to analyze the theoretical value and artistic connotation of the Western Uygur traditional San wood pattern. At present, it is known that the art research on Xinjiang Uygur traditional San wood pattern is mostly aimed at a carrier, and does not carry on the Department of the San wood pattern. The cultural research of Xinjiang Uygur traditional San wood pattern is an indispensable part of the Xinjiang regional pattern. As a unique decorative pattern of Xinjiang, the pattern of the Ba Dan Wood pattern plays an important role in the Uygur's ornament pattern. The religious belief related, on the one hand, symbolizes the hard work, hard and unyielding spiritual civilization of the people of Xinjiang. It also embodies the Uygur people's optimism and optimism from the life of the Uygur people in the desert area. The full text is divided into five chapters. The first chapter is about the background of the research, the present situation, the purpose and the significance of the study. The second chapter describes the biological background, the geographical environment, the nutritional value and the classification of the species in Xinjiang. The third chapter introduces the relationship between the Uygur Ba Dan wooden fruit and the denim pattern, the origin of the Pezli pattern, the relationship with the western culture, the Uygur people and the image regional cognition. The fourth chapter is the focus of the full text. It mainly talks about the spatial combination of the Uygur's Dan Wood pattern, the main modeling, the form classification, the combination of other patterns, the decoration carrier and the color collocation analysis, and further discusses the aesthetic meaning and the religious belief of the pattern of the wooden pattern and the back of the adornment. The chapter tells the auspicious culture and religious belief of the cultural factors of the wood pattern of the new year. From the above basic research, it is concluded that the source and practice of Uygur art are closely related to their religious beliefs, and the religious psychology and emotion are deeply ingrained. In the continuous development society, the open environment makes us more deeply and indigenous. The theory will provide strong theoretical support for the inheritance and development of Uygur culture.
【学位授予单位】：新疆师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J522

【参考文献】