【作者】 谭嫄嫄；

【导师】 朱和平；

【作者基本信息】 湖南工业大学 ， 设计艺术学， 2006， 硕士

【摘要】 我国少数民族作为中华民族大家庭中的一员,由于其地理环境、生产生活方式以及历史等原因,其文化艺术的发展始终根植于其民族自身特定的环境之中,同时又受到汉民族及周边民族的影响,始终存在着文化的碰撞与融合。这种文化艺术的产生、发展的格局,使得其文化的演变过程极其复杂。全面系统了解、发掘其演变过程,不仅是准确揭示某一个少数民族历史内涵的需要,而且对探讨民族文化传承的规律不无裨益!基于这种认识,本文选择我国历史上颇有影响的少数民族匈奴的文化艺术作为研究视野,通过对匈奴饰牌设计艺术性的提炼、揭示,藉以对少数民族文化存在和发展的某些规律性进行阐释。以有明确出土地点和能确定年代、族属的器物为研究基础,研究中国境内的匈奴饰牌在年代和分布地区之间的关系,全面、客观、准确地把握匈奴饰牌艺术风格,及展开匈奴饰牌艺术相关问题的探讨。笔者以装饰母题作为分类的依据将匈奴饰牌划分为动物纹、人物活动纹、几何纹三型,研究发现战国到西汉时期是匈奴饰牌发展最鼎盛的时期,同时并存多种形制,并因题材选取的不同形成各自的系列,饰牌由原来的单一品种向系列化发展。创作母题从自然领域转向社会生活领域。纹饰题材日趋的程序化、多样化,表明匈奴人由于观念和价值体系的变化,其饰牌纹样在保证功能性的同时,进入生活审美领域的实用阶段。匈奴人源于生活实用需要的设计,在设计发展中一直延续了功能与形式的统一。匈奴饰牌艺术在它发展的过程中,一方面接受了中原地区艺术的影响,也不可避免地吸收了欧亚草原上其他艺术的精华。研究表明在匈汉饰牌艺术的相互影响中,匈奴文化占主导地位,汉地饰牌的设计曾受到匈奴饰牌艺术的深刻影响。以匈奴为代表的北方游牧民族的文化风俗,大量地进入中原地区,并形成了广泛而深入的影响,甚至远传岭南百越之地。任何民族的艺术传承,对外来的艺术只有采取的吸纳、包容的态度,才能发展壮大。从汉地文化的发展规律来看,我国殷商文化、先秦文化、汉文化、唐文化都有一个不容忽视的显著特点。我国北方的游牧民族也是努力从周边各方面汲取艺术营养以丰富自身正在发展的文化。匈奴艺术不仅曾在艺术题材、艺术风貌上受西伯利亚地区及西域等地文化的强烈影响,而且还吸收了汉地文化的思想,最终在那个特殊的历史环境、社会环境和艺术环境之中,自然而然地萌芽、发展,形成了东、西方结合的艺术类型。虽然,匈奴最后退出了历史的舞台,但是匈奴艺术又由于周边民族的吸纳、包容而得以传承。更多还原

【Abstract】 As one of the members of Chinese nation, the minority has culture collision and fusion, because of its geography environment, lifestyle and some history reasons, and its culture development always rooted in special environment, meantime effected by Han nationality and neighboring minority. This format of culture art development makes its culture evolvement very complex. It is better to disclose one minority history and explore national culture by apprehending evolvement comprehensively and systemically. Based on this, this thesis chooses influential the minority’s culture art as research visual field, expounds some rules of minority culture existent and development, abstracting and revealing of Xiongnu plaque’s art, to aim to explain some rules of minority existence and development. On the basis of specific place, time and artifacts, this thesis researches for Xiongnu plaque within China territory. It is better for us to know the art style of Xiongnu plaque externally and exactly, and reveal the rule of Xiongnu art development.According to decoration themes, I divide Xiongnu Plaques into animal plaques,people act plaques and geometric plaques. This paper researches on Xiongnu plaques have vigorous development from the Warring States Periods to the Spring and Autumn Periods, at the same time, based on different decoration themes, plaques form different series and develop from singleness to series, The diversification of Xiongnu plaque decoration makes clear because of changing of concept and value system, the plaque decoration comes into functional stage in daily life. Xiongnu plaque is the unification of function and form during its development.Xiongnu plaques accept the influence of the Central Plains art; inevitably absorb the pith of Eurasian prairie art during its development. Xiongnu culture takes dominant position in the influent, Han plaques design is deeply influenced by Xiongnu plaque art. The culture of northern nomadic comes into the central plains, forms extensive influence, even spreading to Lingnan Baiyue district.Any nation only adopts and accepts foreign art; it can constantly develop and grow. Based on Han culture development rules, Chinese Yinshang culture, Xianqing culture, Han culture, Tang culture has outstanding characteristics. Chinese northern nomad people strive to make greater development by absorbing surrounding culture. Xiongnu art is influenced by Siberian and the Western Regions culture, and absorbs Han culture’s thought. In the end in that special history environment Xiongnu art forms eastern-western associated art style. Although Xiongnu steps off the stage of history, its art is inherited by surrounding nations.更多还原