生生之韵—中国传统节日的审美意蕴
发布时间：2018-10-16 12:10
【摘要】：中国传统节日,作为社会生活中的重要文化现象,它不仅拥有丰富的文化内涵,更具有独特的审美意蕴。以往关于传统节日的研究主要集中在民俗学、文化学等方面,而对于节日本身所具有的生命精神的研究还较为缺失。本文以期通过节日在日常生活中的感性显现,来展现循环往复、生生不息的生命精神。 本文以传统节日作为研究对象,以节日的特殊时间性为线索,在中国独特的生命循环模式——春生、夏长、秋收、冬藏的基础上,从中国传统生命美学的角度对春节、端午节、中秋节和腊月节展开了较为全面而深入的研究,在对传统节日文化内涵进行探索的同时,考察传统节日所具有的独特审美意蕴,揭示节日对人生的重要意义,在此基础上把文章的主体部分划分为四章： 第一章为“萌生：春节的民俗文化与审美精神”,以中国的农历(夏历)时间为标准,以春季为时间为背景,从一系列的春季传统节日如春节、立春、人日、元宵节、天穿节、填仓节、晦日、中和节、春社日、春分、佛出家日、花朝节、观音诞、上巳节、寒食节、清明节等等中选取最具代表性的春节作为主要的审美对象,从考察它的历史起源,节期规定和节俗活动等方面的内容入手,联系实际生活经验来分析它们的文化含义和审美蕴意,通过一系列的年节活动及仪式,展示在春回大地,万物萌生的生命状态下生生不息、新新不已的生命精神。 第二章为“达生：端午节的文化变迁及审美追求”,本章以最具夏季节日代表的端午节为审美对象,从考察它的历史起源、节期和节俗等内容入手,来分析端午“求真”、“向善”、“为美”的审美文化内涵,继而表现夏之绚丽多彩的生命姿态,最终实现求和助生的美好愿望。 第三章为“卫生：中秋节的文化内涵与审美理想”,本章主要考察最具秋季节日代表的中秋节,在对它的历史起源、节期、节俗等内容的考察中,将重点指向那神奇曼妙的各种月宫神话和寓意深远的民间月饼,在享受神奇的同时,感受生生的美妙；在品尝美味的当下,演绎“团圆”的理想。透过对生生之美的体验和“团圆”理念的感悟,来实现静养的人生理想。 第四章为“重生：腊月节的民俗文化及审美境界”,以冬季传统节日的典型代表腊月节为审美对象,以它们各自的历史起源、节期、节俗为着眼点,分别从人对物的外在超越、人自身的人格完善、人与自然的内在统一等三个层面,来展现和谐之美的生命境界,最终实现生命在严酷寒冬中的重生。 总之,在中国,传统节日作为生命符号,它蕴含生生不息、无往不复的独特生命精神,拥有真善美完美结合的审美追求,体现生生与团圆的审美理想,关照和谐大同的审美境界,日常生活中对生命的象征,是无处不在,无处不有的,是生活永恒的主题。
[Abstract]:As an important cultural phenomenon in social life, Chinese traditional festivals not only have rich cultural connotations, but also have unique aesthetic connotations. In the past, the study of traditional festivals mainly focused on folklore and culturology, but the study on the life spirit of the festival itself is still relatively lacking. This paper hopes to show the cycle of life spirit through the perceptual manifestation of festivals in daily life. This article takes the traditional festival as the research object, takes the special time of the festival as the clue, on the basis of the Chinese unique life cycle pattern-spring, summer long, autumn harvest, winter Tibet, from the Chinese traditional life esthetics angle to the Spring Festival, the Dragon Boat Festival, The Mid-Autumn Festival and the 12th Moon Festival have carried out a more comprehensive and in-depth study. While exploring the cultural connotations of the traditional festivals, the unique aesthetic implications of the traditional festivals have been investigated, and the significance of the festivals to life has been revealed. On this basis, the main part of the article is divided into four chapters: the first chapter is "initiation: folk Culture and Aesthetic Spirit of Spring Festival", with Chinese lunar calendar (summer calendar) as the standard and spring as the background. From a series of traditional spring festivals such as the Spring Festival, the Beginning of Spring, people's Day, Lantern Festival, Tiantian Festival, Silo filling Festival, obscure Day, Central Festival, Spring Social Day, the Spring Equinox, Buddhist Monastic Day, Flower Festival, Guanyin Birthday, Shangsi Festival, Cold Food Festival, Ching Ming Festival and so on selected the most representative Spring Festival as the main aesthetic object, from its historical origin, festival regulations and festival activities and other aspects of the content, Through a series of annual activities and rituals, this paper analyzes their cultural meaning and aesthetic implication by connecting with their actual life experience, and displays the new life spirit under the state of life that spring returns to the earth and all things sprout. The second chapter is "Dasheng: the cultural change and aesthetic pursuit of the Dragon Boat Festival". This chapter takes the Dragon Boat Festival, which is the most representative summer festival, as the aesthetic object, starting with the historical origin, the festival period and the festival vulgarity, to analyze the Dragon Boat Festival "seeking truth". The aesthetic cultural connotation of "toward goodness" and "beauty for beauty", then shows the colorful life posture of summer, and finally realizes the good desire of seeking and helping living. The third chapter is "Health: the Cultural connotation and Aesthetic ideal of the Mid-Autumn Festival". This chapter mainly examines the Mid-Autumn Festival, which is the most representative of the Autumn Festival, in the investigation of its historical origin, festival period, festival customs, etc. The focus is on the mysterious and graceful mythology of the Moon Palace and the profound meaning of the folk moon cakes, enjoying the magic and feeling the beauty of life and life at the same time, and deducing the ideal of "reunion" at the moment of delicious taste. Through the experience of the beauty of life and the idea of reunion, to realize the ideal of quiet life. The fourth chapter is "rebirth: the folk culture and aesthetic state of the lunar festival", taking the typical representative of the traditional winter festival as the aesthetic object, taking their respective historical origin, the festival period, the festival custom as the starting point, respectively from the person to the physical external surpassing, The perfection of man's own personality and the inner unity of man and nature show the life realm of harmonious beauty and finally realize the rebirth of life in the harsh winter. In short, in China, as a symbol of life, traditional festivals contain the unique life spirit, which has the aesthetic pursuit of perfect combination of truth, good and beauty, and embodies the aesthetic ideal of life and reunion. Taking care of the aesthetic realm of harmony and harmony, the symbol of life in daily life, is everywhere, is the eternal theme of life.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：B834.3
本文编号：2274310
[Abstract]:As an important cultural phenomenon in social life, Chinese traditional festivals not only have rich cultural connotations, but also have unique aesthetic connotations. In the past, the study of traditional festivals mainly focused on folklore and culturology, but the study on the life spirit of the festival itself is still relatively lacking. This paper hopes to show the cycle of life spirit through the perceptual manifestation of festivals in daily life. This article takes the traditional festival as the research object, takes the special time of the festival as the clue, on the basis of the Chinese unique life cycle pattern-spring, summer long, autumn harvest, winter Tibet, from the Chinese traditional life esthetics angle to the Spring Festival, the Dragon Boat Festival, The Mid-Autumn Festival and the 12th Moon Festival have carried out a more comprehensive and in-depth study. While exploring the cultural connotations of the traditional festivals, the unique aesthetic implications of the traditional festivals have been investigated, and the significance of the festivals to life has been revealed. On this basis, the main part of the article is divided into four chapters: the first chapter is "initiation: folk Culture and Aesthetic Spirit of Spring Festival", with Chinese lunar calendar (summer calendar) as the standard and spring as the background. From a series of traditional spring festivals such as the Spring Festival, the Beginning of Spring, people's Day, Lantern Festival, Tiantian Festival, Silo filling Festival, obscure Day, Central Festival, Spring Social Day, the Spring Equinox, Buddhist Monastic Day, Flower Festival, Guanyin Birthday, Shangsi Festival, Cold Food Festival, Ching Ming Festival and so on selected the most representative Spring Festival as the main aesthetic object, from its historical origin, festival regulations and festival activities and other aspects of the content, Through a series of annual activities and rituals, this paper analyzes their cultural meaning and aesthetic implication by connecting with their actual life experience, and displays the new life spirit under the state of life that spring returns to the earth and all things sprout. The second chapter is "Dasheng: the cultural change and aesthetic pursuit of the Dragon Boat Festival". This chapter takes the Dragon Boat Festival, which is the most representative summer festival, as the aesthetic object, starting with the historical origin, the festival period and the festival vulgarity, to analyze the Dragon Boat Festival "seeking truth". The aesthetic cultural connotation of "toward goodness" and "beauty for beauty", then shows the colorful life posture of summer, and finally realizes the good desire of seeking and helping living. The third chapter is "Health: the Cultural connotation and Aesthetic ideal of the Mid-Autumn Festival". This chapter mainly examines the Mid-Autumn Festival, which is the most representative of the Autumn Festival, in the investigation of its historical origin, festival period, festival customs, etc. The focus is on the mysterious and graceful mythology of the Moon Palace and the profound meaning of the folk moon cakes, enjoying the magic and feeling the beauty of life and life at the same time, and deducing the ideal of "reunion" at the moment of delicious taste. Through the experience of the beauty of life and the idea of reunion, to realize the ideal of quiet life. The fourth chapter is "rebirth: the folk culture and aesthetic state of the lunar festival", taking the typical representative of the traditional winter festival as the aesthetic object, taking their respective historical origin, the festival period, the festival custom as the starting point, respectively from the person to the physical external surpassing, The perfection of man's own personality and the inner unity of man and nature show the life realm of harmonious beauty and finally realize the rebirth of life in the harsh winter. In short, in China, as a symbol of life, traditional festivals contain the unique life spirit, which has the aesthetic pursuit of perfect combination of truth, good and beauty, and embodies the aesthetic ideal of life and reunion. Taking care of the aesthetic realm of harmony and harmony, the symbol of life in daily life, is everywhere, is the eternal theme of life.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：B834.3
【参考文献】
相关期刊论文 前10条
1 萧放;;春节习俗与岁时通过仪式[J];北京师范大学学报(社会科学版);2006年06期
2 熊飞;中国古代的月崇拜及相关节俗文化[J];北京师范大学学报(社会科学版);1996年06期
3 熊海英;中秋节及其节俗内涵在唐宋时期的兴起与流变[J];复旦学报(社会科学版);2005年06期
4 李文倩;;“孝”文化背后的重生祈望[J];华南农业大学学报(社会科学版);2007年04期
5 赵德利;民俗审美论[J];呼兰师专学报;1997年02期
6 王旭晓;;民俗的审美价值探源及其当代意义[J];河南教育学院学报(哲学社会科学版);2006年02期
7 谷鹏飞;;从美学角度看民俗的现代传承与重建[J];河南教育学院学报(哲学社会科学版);2006年02期
8 李修建;;奥运“福娃”的审美形象与民俗文化蕴涵[J];河南教育学院学报(哲学社会科学版);2006年02期
9 萧辉,萧放;论传统社会平民礼俗的文化特征[J];江汉论坛;2001年05期
10 王渝飞;实现再现情感的审美印象─—浅谈中国民俗文化村的美学意义[J];暨南学报(哲学社会科学);1994年04期
相关重要报纸文章 前3条
1 萧放;[N];中国文化报;2010年
2 曹静;[N];解放日报;2008年
3 本报记者 王明浩 苏显龙;[N];人民日报;2006年
相关博士学位论文 前2条
1 杨江涛;中国传统节日的美学研究[D];中国人民大学;2008年
2 李春娟;方东美生命美学研究[D];浙江大学;2007年
，本文编号：2274310
本文链接：https://www.wllwen.com/wenyilunwen/meixuelunwen/2274310.html
