萨满图腾与东北地区服装关因
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摘要
萨满宗教是起源于亚洲北部的原始性宗教,中国东北部地区被认为是现今世界上保留最完整萨满宗教的地方,这一原始宗教在中国东北部地区的少数民族服装服饰当中起到了不可或缺的作用,它所常用的写实、象征、写意的图腾图案手法也被应用到少数民族服装服饰纹样图案的设计制作当中。这些具有萨满宗教特征的图腾图案符号将不同地区的少数民族划分开来,并形成了独具特色的地域性风格。少数民族先民们在萨满神服设计制作过程中,并赋予了神服上各种图腾图案丰富的文化内涵,同时也传达了他们对于神灵的敬仰和对于美好生活的向往。如何将如此丰富的萨满宗教图腾符号语言传承下去,并使之成为一个现代服装服饰设计发展得新趋向,是我们需要为之努力的。
作者通过萨满宗教的起因及发展入手,抓住萨满宗教对于东北地区服装服饰的图案纹样方面的影响进行研究分析,为我国服装服饰发展引入传统宗教文化元素,并尝试将传统萨满宗教的典型符号纹样和现代首饰设计技法相结合,在现代流行设计元素当中注入传统文化元素,为我国服装服饰行业注入新的创作理念。
论文一共分为四个部分,第一部分阐述萨满宗教的起源、发展和消亡;第二部分针对萨满宗教对于萨满神服以及信奉萨满宗教的少数民族服装服饰的影响进行分析研究,并在此基础上提炼出萨满宗教文化的特征符号元素;第三部分将萨满特征元素符号元素应用于当代首饰设计创作当中,并结合本人的设计作品加以分析;第四部分为结论,对这一研究命题对于东北地区的服装服饰发展提出展望性的构想和总结性的思考。
本文力求通过对于庞大的萨满宗教体系的针对性分析研究,从中获取具有东北地区地域特色的符号元素,并将其应用到现代服装服饰设计领域,期望能让大家感受到这种原始艺术中所特有的审美内涵和所具有的神秘的文化内涵。
Shamanism is the primitive religion which originated in the northern part of Asia. The northeastern region of China has been considered to be the place which has keep the most complete of the shamanism all over the world. And the primitive religion has played a very important role in the Chinese northeastern region clothing. The realism, symbolism, freehand is the most useful designing way in the shamanistic totem, as the same, it has been used in the ethnic minorities clothing design. These different minorities could be separated by unique shamanistic totem’s patterns and the same time formed a different regional style. Minority ancestors endowed various totems with rich cultural connotations and their reverence for the gods and for a better life for themselves. How to pass along the rich religious symbols of Shamanism, making it to be a new tendency for the modern fashion design is that we need to try hard.
By adoption of the causes and development of Shamanism start to analysis the influencing factors by shamanism during the northeast region clothing, and lead these elements which with Chinese traditional religion and culture into fashion design, and try to tie in the typical symbol with traditional shamanistic culture and modern jewelry design techniques, in order to combine the modern pop element with the traditional one, and find out a new creative way in Chinese fashion industry.
The totaly of papers is divided into four parts, the first part is the origin, development and demise of shamanism; the second part is analyzes the influences by shamanism between shaman’s clothing and the minorities’clothing who believe in shamanism, and on this basis, to attain the characteristic symbols with shamanistic culture; the third part is takes the shamanistic symbol to the modern jewelry design, and combined with my jewelry design work to analyze the character of shamanism; the fourth part is the conclusion of the papers and a forward-looking for the development of the northeastern fashion design.
This paper wanted to analyze one point of the huge shamanistic system to get the characteristic elements of northeast, and take them into the modern fashion design; at the same time, hope to make everyone feel the connotations of the primitive art and the unique mysterious culture.
作者通过萨满宗教的起因及发展入手,抓住萨满宗教对于东北地区服装服饰的图案纹样方面的影响进行研究分析,为我国服装服饰发展引入传统宗教文化元素,并尝试将传统萨满宗教的典型符号纹样和现代首饰设计技法相结合,在现代流行设计元素当中注入传统文化元素,为我国服装服饰行业注入新的创作理念。
论文一共分为四个部分,第一部分阐述萨满宗教的起源、发展和消亡;第二部分针对萨满宗教对于萨满神服以及信奉萨满宗教的少数民族服装服饰的影响进行分析研究,并在此基础上提炼出萨满宗教文化的特征符号元素;第三部分将萨满特征元素符号元素应用于当代首饰设计创作当中,并结合本人的设计作品加以分析;第四部分为结论,对这一研究命题对于东北地区的服装服饰发展提出展望性的构想和总结性的思考。
本文力求通过对于庞大的萨满宗教体系的针对性分析研究,从中获取具有东北地区地域特色的符号元素,并将其应用到现代服装服饰设计领域,期望能让大家感受到这种原始艺术中所特有的审美内涵和所具有的神秘的文化内涵。
Shamanism is the primitive religion which originated in the northern part of Asia. The northeastern region of China has been considered to be the place which has keep the most complete of the shamanism all over the world. And the primitive religion has played a very important role in the Chinese northeastern region clothing. The realism, symbolism, freehand is the most useful designing way in the shamanistic totem, as the same, it has been used in the ethnic minorities clothing design. These different minorities could be separated by unique shamanistic totem’s patterns and the same time formed a different regional style. Minority ancestors endowed various totems with rich cultural connotations and their reverence for the gods and for a better life for themselves. How to pass along the rich religious symbols of Shamanism, making it to be a new tendency for the modern fashion design is that we need to try hard.
By adoption of the causes and development of Shamanism start to analysis the influencing factors by shamanism during the northeast region clothing, and lead these elements which with Chinese traditional religion and culture into fashion design, and try to tie in the typical symbol with traditional shamanistic culture and modern jewelry design techniques, in order to combine the modern pop element with the traditional one, and find out a new creative way in Chinese fashion industry.
The totaly of papers is divided into four parts, the first part is the origin, development and demise of shamanism; the second part is analyzes the influences by shamanism between shaman’s clothing and the minorities’clothing who believe in shamanism, and on this basis, to attain the characteristic symbols with shamanistic culture; the third part is takes the shamanistic symbol to the modern jewelry design, and combined with my jewelry design work to analyze the character of shamanism; the fourth part is the conclusion of the papers and a forward-looking for the development of the northeastern fashion design.
This paper wanted to analyze one point of the huge shamanistic system to get the characteristic elements of northeast, and take them into the modern fashion design; at the same time, hope to make everyone feel the connotations of the primitive art and the unique mysterious culture.
引文
[1]任继愈主编,宗教词典[M] .上海辞书出版社,1981
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[3] (清)长顺修,吉林通志[M] .吉林文史出版社印本,1986
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[8]文日焕主编,赫哲族萨满文化遗存调查[M] .民族出版社,2009
[9]王纪、王纯信,满族刺绣中的萨满文化[J] .中国民族,2004
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[12]李德成,中国少数民族宗教[M] .中央民族大学出版社,1999
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[16]孟慧英,寻找神秘的萨满世界[M] .西苑出版社,2004
[17]吴世旭,满族民间信仰[M] .沈阳出版社,2004
[18]周虹,满族妇女生活与民俗文化研究[M] .中国社会科学出版社,2005
[19]无量清净尘经[M] .
[20]刘忠波,赫哲族[M] .民族出版社, 1981
[21]许之敏,造型设计基础—立体构成[M] .中国轻工业出版社, 2004
[22] [意]图齐、[西德]海西希著,耿升译、王尧校订,西藏和蒙古的宗教[M] .天津古籍出版社,1989
[23]孙瑞丰、吕静,建筑学原理[M] .清华大学出版社, 2006:127
[24]读图时代编,图说清代女子服饰[M] .中国轻工业出版社, 2007
[25]王纪、王纯信,萨满绘画研究[M] .时代文艺出版社,2003
[26]华梅,中国服装史[M] .天津人民美术出版社,1999年4月第二版: 131
[27]杰列维扬科,林树山、姚凤编译,黑龙江沿岸的部落[M] .长春吉林文史出版社, 1987
[28]李伟,民族旅游地文化变迁与发展研究[M] .民族出版社,2005
[29]全国地方志民俗资料汇编·东北卷[M] .北京图书馆出版社,1997
[30]刘小萌、定宜庄,萨满教与东北民族[M] .吉林教育出版社,1990
[31]孙新周,中国原始艺术符号的文化破译[M],中央民族大学出版社,1998
[32] [奥]弗洛伊德著,文良、文化译,图腾与禁忌[M].中央编译出版社,2005
[33]乔晓光,活态文化[M] .山西人民出版社,2004: 122-127
[34]郭淑云,原始活态文化——萨满教透视[M] .上海人民出版社,2001
[35]郭淑云,多维文化视野中的萨满文化[M] .吉林大学出版社,2005
[36]王钟翰,满族历史与文化[M] .中央民族大学出版社,1996
[37]乌丙安,文化保护立法先行[J] .人民日报,2004年3月31日
[38]钟敬文,民俗学概论[M] .上海文艺出版社,1998
[39]朱净宇、李家泉,少数民族色彩语言揭秘:从图腾符号到社会符号[M].云南人民出版社,1993
[40]段德智,宗教概论[M] .北京人民出版社,2003
[41]王宏刚、富育光,满族风俗志[M] .中央民族学院出版社,1991
[2]于本源,清王朝的宗教政策[M] .中国社会科学出版社,1999
[3] (清)长顺修,吉林通志[M] .吉林文史出版社印本,1986
[4]富育光,萨满教与神话[M] .辽宁大学出版社,1990
[5]富育光,萨满论[M].辽宁人民出版社,2000
[6]尔雅[M]
[7]傅英仁,满族神话故事[M] .北方文艺出版社,1985(1现存于首都博物馆,2、3现存于美国弗利尔美术馆)
[8]文日焕主编,赫哲族萨满文化遗存调查[M] .民族出版社,2009
[9]王纪、王纯信,满族刺绣中的萨满文化[J] .中国民族,2004
[10]王明霞,满族当代民间信仰——以四平地区为例——满族民间信仰调查之二[J] .吉林师范大学学报,2004年第6期
[11]朱净宇、李家泉,少数民族色彩语言揭秘:从图腾符号到社会符号[M].云南人民出版社,1993
[12]李德成,中国少数民族宗教[M] .中央民族大学出版社,1999
[13]王铭铭、潘忠党,象征与社会—中国民间文化的探讨[M] .天津人民出版社,1997
[14]林惠祥,文化人类学[M] .北京:商务印书馆,2002: 231
[15]朝克、汪立珍,鄂温克族宗教信仰与文化[M] .中央民族大学出版社,2002
[16]孟慧英,寻找神秘的萨满世界[M] .西苑出版社,2004
[17]吴世旭,满族民间信仰[M] .沈阳出版社,2004
[18]周虹,满族妇女生活与民俗文化研究[M] .中国社会科学出版社,2005
[19]无量清净尘经[M] .
[20]刘忠波,赫哲族[M] .民族出版社, 1981
[21]许之敏,造型设计基础—立体构成[M] .中国轻工业出版社, 2004
[22] [意]图齐、[西德]海西希著,耿升译、王尧校订,西藏和蒙古的宗教[M] .天津古籍出版社,1989
[23]孙瑞丰、吕静,建筑学原理[M] .清华大学出版社, 2006:127
[24]读图时代编,图说清代女子服饰[M] .中国轻工业出版社, 2007
[25]王纪、王纯信,萨满绘画研究[M] .时代文艺出版社,2003
[26]华梅,中国服装史[M] .天津人民美术出版社,1999年4月第二版: 131
[27]杰列维扬科,林树山、姚凤编译,黑龙江沿岸的部落[M] .长春吉林文史出版社, 1987
[28]李伟,民族旅游地文化变迁与发展研究[M] .民族出版社,2005
[29]全国地方志民俗资料汇编·东北卷[M] .北京图书馆出版社,1997
[30]刘小萌、定宜庄,萨满教与东北民族[M] .吉林教育出版社,1990
[31]孙新周,中国原始艺术符号的文化破译[M],中央民族大学出版社,1998
[32] [奥]弗洛伊德著,文良、文化译,图腾与禁忌[M].中央编译出版社,2005
[33]乔晓光,活态文化[M] .山西人民出版社,2004: 122-127
[34]郭淑云,原始活态文化——萨满教透视[M] .上海人民出版社,2001
[35]郭淑云,多维文化视野中的萨满文化[M] .吉林大学出版社,2005
[36]王钟翰,满族历史与文化[M] .中央民族大学出版社,1996
[37]乌丙安,文化保护立法先行[J] .人民日报,2004年3月31日
[38]钟敬文,民俗学概论[M] .上海文艺出版社,1998
[39]朱净宇、李家泉,少数民族色彩语言揭秘:从图腾符号到社会符号[M].云南人民出版社,1993
[40]段德智,宗教概论[M] .北京人民出版社,2003
[41]王宏刚、富育光,满族风俗志[M] .中央民族学院出版社,1991