纺织学报 ›› 2012, Vol. 33 ›› Issue (4): 115-118.

• 服装工程 • 上一篇    下一篇

吉数“3”在苗族蜡染图案中的艺术表现

 柴颂华1, 凌惠惠2   

  1. 1. 湖南工程学院设计艺术学院 2. 江汉大学艺术学院
  • 收稿日期:2011-04-29 修回日期:2012-01-31 出版日期:2012-04-21 发布日期:2012-03-23
  • 通讯作者: 柴颂华 E-mail:chaisonghua01@163.com
  • 基金资助:

    国家级

Kyrgyzstan number “3” in the Hmong batik patterns of artistic

 CHAI  Song-Hua1, LING  Hui-Hui2   

  • Received:2011-04-29 Revised:2012-01-31 Online:2012-04-21 Published:2012-03-23

摘要: 蜡染是少数民族特别是苗族传统艺术中的一朵奇葩,蜡染图案里面有很多与吉数“3”相关的艺术表现,它利用联想、以小见大、对比衬托等手法,再通过吉数“3”把其图案所描绘的事物的性质和特点直接表现出来,借彼显此,达到集中、简洁、曲折变化的表现效果。苗族劳动人民创造的蜡染把自然现象人格化、理想化、社会化,运用寓意、谐音、象征等手法,创造出图形与吉祥寓意的完美结合,呈现出了“天人合一”的思想观念,这就是吉数“3”在蜡染中艺术表现的最高境界。

Abstract: Batik is a traditional art of the Miao ethnic minorities, especially in a wonderful work, there are a lot of batik patterns and guitar number“3”-related artistic expression, which uses association to Seeing the contrast set off by such means, and through Kyrgyzstan。Number“3” pattern described by its nature and characteristics of things manifested directly, through he was this, to focus on, simple, twists and turns in the performance results.Miao batik created by working people to natural phenomena personified, idealized, socialization, the use of meaning, euphony, symbolic forms, to create graphics and the perfect combination of auspicious meaning, showing the "Harmony" ideas.Which Kyrgyzstan is the number "3" in the batik in the highest level of artistic expression.

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