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
