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标题: 尹笑非:民众生活理想的视觉展演—中国民间传统吉祥图像的理论阐释 [打印本页]

作者: 笛威辛亢    时间: 2008-11-19 08:23     标题: 尹笑非:民众生活理想的视觉展演—中国民间传统吉祥图像的理论阐释

作者毕业学校:华东师范大学
专业:文艺民俗学
指导教师:陈勤建教授

以下为该论文中英文摘要及关键词,全文请到中国知网下载
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中国民间传统吉祥图像是通过谐音、寓意和变形的手法,用吉利祥瑞的物象符号表达民众日常生活理想的独特视觉艺术形式。它是一种民间俗信,是民众生活智慧和文化心理的外化符号,是民众日常生活理想的视觉展演。它蕴含了丰富的文化道德内涵、民族审美情趣、形象思维方式,是极具民族文化特色的既古老又时尚的艺术形态。论文建立在丰富的田野调查和图像搜集基础之上,走访了浙江、江苏、四川、云南、北京、安徽、辽宁等地,旨在对吉祥图像进行资料和理论的双重梳理,着眼于吉祥图像在当代的生存内容、方式和际遇,做出深入探索。
本文共分为五章。绪论对吉祥图像的研究现状和意义进行概述后,对文中吉祥图像的定义进行了细致阐述,并对其研究范围进行了简要的界定。第一章由表及里地对吉祥图像的构成进行了详尽的梳理,从其表层构成分类方式到其中层附属的吉祥语和传说故事,到其深层的生活方式和意识形态,由浅入深地进行分析。
随后几章则以“中国民间传统吉祥图像”的“吉祥”、“民间”、“传统”、“图像”这四个关键词为基准,分别从吉祥的生活理想、民众的日常生活、传统文化的影响、视觉图像的思维四个方面予以分别论述:第二章以“吉祥”为核心,先是纵向梳理了吉祥图像产生发展的历史,继而横向对吉祥图像表现的精神理想,尤其是在当代的生活理想作出分析和个案研究。追古溯今地将吉祥图像这一古老而生机勃勃的活态艺术呈现出来,并通过个别的原型透视整个吉祥思想观念的内涵,追溯中国人浓厚的求吉思想形成过程和原因。第三章以“民间”为核心,分析了吉祥图像的创造和接受主体“民众”的群体构成,分析了吉祥图像的民间信仰性质和其日常生活审美化表征。第四章以“传统”为核心,论述了吉祥图像思想内容上受儒释道经典文化的影响以及变异,并以吉祥图像为例,提出上述经典传统之外的民间传统,同样以非文字的方式表达了一套系统的天人合一观念。第五章以“图像”为核心,论述图像是更接近本民族思维习惯的表达方式。继而从微观上讨论了吉祥图像色彩与构图的视觉效果,并在视觉浪潮的文化背景下对吉祥图像的生存和发展进行了探讨。
    文章的结语部分结合田野调查的实践经验对吉祥图像的传承和保护和研究工作谈了个人的看法,并对未来的研究方向和目标提出了总体的规划。


关键词:吉祥 民间 传统 图像
作者: 笛威辛亢    时间: 2008-11-19 08:23     标题: 英文摘要及关键词

Abstract

Chinese traditional folk auspicious image is a unique visual artistic form, which expresses the expectation of people’s daily life by auspicious visible phenomena and symbols in the manner of assonance, allegorizing and transmutation. To be more specific, it is a sort of folk custom and religion, an externalizing symbol of the wisdom of life and culture symbol from the mass, an exhibition of the ideality of people’s daily life. Moreover, it implies abundance of cultural and moral connotative meaning, delight of ethical aesthetics and the way of imaginal thinking, and it is also an archaic but fashionable artistic form full of the characteristics of national culture. Based on plenty of field investigation and collection of images, in order to make double pectination of the data and theories of the auspicious image, this dissertation makes an investigation in depth, which mainly focuses on the existent matter, manner and fortune of the time.

There are five Chapters in this dissertation. Firstly, in the part of introduction, after a summary of the current research situation and research purpose of the auspicious image, there is an intensive demonstration of its definition and characteristics, which is followed by a brief definition of its research area. Moreover, in the first Chapter, an exhaustive demonstration of the composing of auspicious image is proceed from the exterior to the interior. The analysis goes from the shallower to the deeper, which implies the discussion from the sorting mode of surface structure to the middle-rank of auspicious words and legends, and to the deep-rooted way of life and ideological form.

In the following Chapters, there are four sections discussed from the aspects of the auspicious ideality of people’s daily life, daily life of people and the mass, influence of the integration of traditional culture, and the thinking and impression of visual images, which are corresponding to the four key words “auspicious, folk, traditional and image” in the “Chinese folk traditional auspicious image”. To be more specific, the second Chapter focuses on “auspicious”, which vertically combs the history of the appearance and development of auspicious image in the first place, and then horizontally analyzes the mental expectation expressed by auspicious image by the way of case study, especially the contemporary daily expectation. Next, the third Chapter in which the key word is “folk”, has a discussion about the creation of auspicious image and the colonial construction of the given main body “the mass”, and an analysis of the habitude of folk religion and its presentational aesthetic characteristics in daily life. The forth Chapter makes “traditional” its main point, and argues that the Confucianism has a huge influence on the contents of auspicious image and its development. Moreover, taking the auspicious images as examples, the folk traditions which are different from the classical ones express the theory that man is integral part of nature in nonverbal approach. The fifth Chapter takes “visual” as its focus. It argues that images can be considered to be the way of expression which is more close to the traditional way of thinking. In this way, the auspicious image color and visual effect of composition are both discussed in micro perspective, and makes an investigation of the existence and development of auspicious images against the cultural background of visual wave.

Finally, the author’s personal views in protecting auspicious image and lineage are given in the conclusion section. At the same time, the planning of further investigation is introduced at last as well.



Key words:  auspicious  folk  traditional  image
作者: 笛威辛亢    时间: 2008-11-19 08:24     标题: 论文目录

目    录

论 文 摘 要        V
ABSTRACT        VI
绪  论        1
第一节 研究现状与目的意义        1
第二节 概念与研究范围的界定        2
第一章  吉祥图像总论        7
第一节 吉祥图像的表层结构        7
第二节 吉祥图像的中层附属        12
第三节 吉祥图像的深层系统        22
第二章        中国民间传统吉祥图像的理想诉求        29
第一节  吉祥图像演变的历史过程        29
第二节  吉祥图像追寻的生活理想        38
第三章  中国民间传统吉祥图像的生存空间        98
第一节  民间融会贯通的精神        98
第二节  民众日常生活中的俗信        101
第三节  民众日常生活审美化的表征        104
第四章  中国民间传统吉祥图像的文化积淀        111
第一节  儒家思想的渗透        111
第二节  道家思想的影响        124
第三节  佛教思想的借鉴        127
第四节  民间思想的阐释        130
第五章  中国民间传统吉祥观念的视觉呈现        138
第一节  吉祥图像的视觉语言        138
第二节  吉祥图像的视觉效果        143
第三节  现代视觉浪潮中的命运        157
结  语        162
作者: 恩施土家    时间: 2011-4-19 22:04

一直没搞清楚 笑菲老师和龙哥谁大一些?




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