云南傣族剪纸艺术及其延伸工艺研究
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摘要
“傣族剪纸”和与之相关的“傣族手工造纸”是2006年5月20日国务院公布的第一批518项国家级非物质文化遗产名录之一。本文通过史料的检索查询和对德宏、临沧、西双版纳三个主要傣族聚居地的田野调查,运用系统分析法、归纳法、比较法等研究方法,把“云南傣族剪纸艺术及其延伸工艺”作了系统的阐述和研究。傣族剪纸与中原传统剪纸一脉相连,通过中缅印、中越等古道入滇,继承了中原传统剪纸的技艺,成为了服务于傣族社会中人生礼仪、年节祭祀等民俗活动事项中的重要载体,同时也造就了一批不脱离农事的男女剪纸艺人。论文首先从中国传统剪纸流派的风格特点、图案的构成以及与省内外不同地区民族剪纸艺术的比较分析,说明傣族剪纸艺术传承中国传统剪纸艺术的特点及带有印度和东南亚文化的异国情调的表征,从而成为中华剪纸艺术宝库的一朵奇葩。其次,以傣族传统的剪纸艺术为源,又派生出三个支流：以竹篾骨架裱纸,贴剪纸图案装饰的彩扎工艺；以剪纸图案为底样,再施以色线的刺绣工艺；以阴刻手法刻版,把剪纸图案用金粉漏印在佛寺墙壁和梁柱上的金水漏印工艺。从工艺、造型、图案特点等对它们进行分析研究。
论文的研究涉及历史学、民族学、工艺美术学、设计艺术学等的交叉学科。以中华民族的古老文化精髓为依据,对一个覆盖面广,图案多样的傣族剪纸艺术的分析、提炼和归纳,整理出一套傣族剪纸纹样的图形素材。对傣族剪纸图案构成形式、内容题材、色彩构成等艺术形式进行分析归纳,透过纹样外在的艺术表现形式,揭示其质朴醇厚的民族文化意蕴,并对傣族剪纸的保护、传承与开发进行了探讨。提出了在市场中保护,保护和传承傣族剪纸这项工艺,本身就是保护非物质文化遗产的重要内容。论文的研究丰富和发展了历史学、民族学、工艺美术学、设计艺术学等多种学科,为现代设计提供了蕴含丰富、寓意深刻的图案,促进设计艺术学民族化、本土化发展。
"The Dai nationality paper-cut " and related "the Dai nationality handwork paper making " are that the first group of 518 national grades Materialization of the intangible heritage which State Council announces on May 20,2006. the article has systematically expounded and studied. "Yunnan the Dai nationality art of paper-cut and their stretching handicraft" by historical material retrieval inquiry and Dehong, Lincang, Xishuangbanna Dai three major settlements of field research, and use of systems analysis method, induction, comparative law, and other research methods.Yunnan the Dai nationality art of paper-cut and their stretching handicraft " systematically expound and study. Dai paper cutting and paper-cut central plains are intricately linked, through India and Myanmar, Vietnam and so on into the Yunnan Road, Yunnan Dai inherited Zhongyuan traditional paper-cutting and became the Dai community life in the service rites, worship, and so on New Year customs matters carrier. Since the Dai nationality believes that Buddha, art of paper-cut become also surely the Theravada Buddhist South-carrierr and brought up a number of paper-cut artist who not isolating self from farm work.Thesis style characteristic from Chinese tradition paper-cut school, pattern from paper-cut composes, from inside and outside is different from the province area nation art of paper-cut comparison, explain the characteristic that the Dai nationality art of paper-cut Smriti Chinese tradition art of paper-cut, with India and Southeast Asia culture an exotic atmosphere and, become one exotic flower of China art of paper-cut treasure-house. Take the Dai nationality tradition art of paper-cut as source derive three branches out:With bamboo thin bamboo strip, the framework pastes up pricking a handicraft closely to the color that paper-cut pattern decorates; Take paper-cut pattern as bottom appearance, apply again with color line embroidery handicraft; Carve gimmick with the back photoxylography, misses and does not print paper-cut pattern with gold powder miss and not printing handicraft in the buddha temple wall and the upper water gold of beam column.this article study them from the process, modeling, design characteristics.
Research papers relating to history, ethnology, arts and crafts, design arts such as cross-disciplinary study. Marrow is a basis with antiquited the Chinese nation culture, the face covering to one is broad, various art of paper-cut of pattern analysis, refines and is summed up as, arrange out a set of the Dai nationality paper-cut lines-like artwork material. And the Dai nationality paper-cut pattern composes a form, content artistic form go along such as subject matter, color composition analyses induction, permeate external lines appearance art manifestation, announce to whose plain mellow national culture accumulating intention, paper-cut protection, Smriti and exploitation have carried out investigation and discussion on the Dai nationality. Put forward in the protection of the market, the protection of heritage and the Dai paper cutting techniques, the protection of their intangible cultural heritage is an important part. The paper wealth of research and development of history, ethnology, arts and crafts, design arts school and many other disciplines, modern design of the rich, Yuyishenke pattern, designed to promote the arts school nationalization, the development of localization.
论文的研究涉及历史学、民族学、工艺美术学、设计艺术学等的交叉学科。以中华民族的古老文化精髓为依据,对一个覆盖面广,图案多样的傣族剪纸艺术的分析、提炼和归纳,整理出一套傣族剪纸纹样的图形素材。对傣族剪纸图案构成形式、内容题材、色彩构成等艺术形式进行分析归纳,透过纹样外在的艺术表现形式,揭示其质朴醇厚的民族文化意蕴,并对傣族剪纸的保护、传承与开发进行了探讨。提出了在市场中保护,保护和传承傣族剪纸这项工艺,本身就是保护非物质文化遗产的重要内容。论文的研究丰富和发展了历史学、民族学、工艺美术学、设计艺术学等多种学科,为现代设计提供了蕴含丰富、寓意深刻的图案,促进设计艺术学民族化、本土化发展。
"The Dai nationality paper-cut " and related "the Dai nationality handwork paper making " are that the first group of 518 national grades Materialization of the intangible heritage which State Council announces on May 20,2006. the article has systematically expounded and studied. "Yunnan the Dai nationality art of paper-cut and their stretching handicraft" by historical material retrieval inquiry and Dehong, Lincang, Xishuangbanna Dai three major settlements of field research, and use of systems analysis method, induction, comparative law, and other research methods.Yunnan the Dai nationality art of paper-cut and their stretching handicraft " systematically expound and study. Dai paper cutting and paper-cut central plains are intricately linked, through India and Myanmar, Vietnam and so on into the Yunnan Road, Yunnan Dai inherited Zhongyuan traditional paper-cutting and became the Dai community life in the service rites, worship, and so on New Year customs matters carrier. Since the Dai nationality believes that Buddha, art of paper-cut become also surely the Theravada Buddhist South-carrierr and brought up a number of paper-cut artist who not isolating self from farm work.Thesis style characteristic from Chinese tradition paper-cut school, pattern from paper-cut composes, from inside and outside is different from the province area nation art of paper-cut comparison, explain the characteristic that the Dai nationality art of paper-cut Smriti Chinese tradition art of paper-cut, with India and Southeast Asia culture an exotic atmosphere and, become one exotic flower of China art of paper-cut treasure-house. Take the Dai nationality tradition art of paper-cut as source derive three branches out:With bamboo thin bamboo strip, the framework pastes up pricking a handicraft closely to the color that paper-cut pattern decorates; Take paper-cut pattern as bottom appearance, apply again with color line embroidery handicraft; Carve gimmick with the back photoxylography, misses and does not print paper-cut pattern with gold powder miss and not printing handicraft in the buddha temple wall and the upper water gold of beam column.this article study them from the process, modeling, design characteristics.
Research papers relating to history, ethnology, arts and crafts, design arts such as cross-disciplinary study. Marrow is a basis with antiquited the Chinese nation culture, the face covering to one is broad, various art of paper-cut of pattern analysis, refines and is summed up as, arrange out a set of the Dai nationality paper-cut lines-like artwork material. And the Dai nationality paper-cut pattern composes a form, content artistic form go along such as subject matter, color composition analyses induction, permeate external lines appearance art manifestation, announce to whose plain mellow national culture accumulating intention, paper-cut protection, Smriti and exploitation have carried out investigation and discussion on the Dai nationality. Put forward in the protection of the market, the protection of heritage and the Dai paper cutting techniques, the protection of their intangible cultural heritage is an important part. The paper wealth of research and development of history, ethnology, arts and crafts, design arts school and many other disciplines, modern design of the rich, Yuyishenke pattern, designed to promote the arts school nationalization, the development of localization.
引文
江应梁.傣族史[M].成都：四川民族出版社,1983：2
2 http://tieba.baidu.com/f?kz=125743457
3 Knapp, Brian. Copper, Silver and Gold[J].Reed Library, Australia,1996:39～40
4刘岩.南传佛教与傣族文化[M]].昆明：云南民族出版社,1993：49～59
5郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
6 许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：4
7倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80
8倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80～82
9许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：8-11
10 舒兴云.剪出的世界[J].民族文化报,1992.3
11 彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
12李伟卿.话说云南剪纸[J].民族艺术研究,1996.3：57-60
13 彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
14林超民.蜀身毒道浅探[J].西南民族历史研究集刊,1992年第2期
15童恩正.试谈古代四川与东南亚文明的关系[J].文物,1983年第9期
19民族事务委员会编.新平彝族傣族自治县民族志[M].昆明：云南民族出版,1991：109
20临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：13～16
21张公瑾.傣族文化[M].长春：吉林出版社,1986：156
22刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：1-2
23王懿之.杨世光.贝叶文化论.昆明：云南人民出版社,1990：407～408
24马莉萍.从佛教文化看傣族剪纸艺术[J].涪陵师范学院学报,2007.5
25 苏春丽,李艳.云南民俗风情与旅游[M].昆明：云南大学出版社,2005：4
26杨兆麟.傣族故事佛幡和故事布画[J].装饰,1998.4
27李伟卿.云南民族美术史论丛[M].昆明：云南人民出版社,1995：232
28郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
29柴京津.中国剪纸艺术[M].北京：人民美术出版社,1996：23
30 杨兆麟.原始物象—村寨的守护和祈愿[M].昆明：云南教育出版社,2000：242
31 左汉中.中国民间美术造型[M].长沙：湖南美术出版社,1992：235
32 类维顺.现代图案设计计法实例[M].长春：吉林摄影出版社,20001：3
33徐雯.服饰图案[M].北京：中国纺织出版社,2000：54
34 Le Corbusier, Towards a New Architecture[M], Dover Publications.1985: 36
35 Laban, R. V. The language of movement:a guidebook to choreutics. Plavs[M], Boston 1976:78
36 Bukumirovic, D. Maga Magazinovic. Biblioteka Fatalne srpkije knj[M]. Narodaknj,1998:25
37 Geron, C. Enciclopedia de las artes plasticas dominicanas:1844-2000[M]. Dominican Republic s.n. Berlin,2000:479
38关尚卿.平面图案设计[M].石家庄：河北美术出版社,2000：22
39辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
40 杨兴吉.浅谈传统剪纸与现代美术观念[J].民族艺术研究,1998(2)
41 Barnes, A. C., The Art in Paint ing [M], Harcourt, Brace & World, Inc., NY,1937:21
42 Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London:Reaktion,1999
43 Restanv. P. Plastics in arts [J]. Paris, New York,1974:46
44 张蕊.云南傣族剪纸的社会功能及变异状况研究[D].昆明：云南民族大学硕士学位论文,2008
45 La Farge,O. Plastic prayers:dances of the Southwestern Indians. N. p.1930:29
45 刀莹.佛、自然的交融——傣族剪纸特色[J].装饰,2004.1
47 郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
48 辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
49何瑞华.傣族园林植物文化[J].中国园林,2004年第4期
50 West, Shearer. The Bullfinch Guide to Art [M].Bloomsbury Publishing, UK,1996:43
51 Michael Newman & Jon Bird, ed., Rewriting Conceptual Art[M], London:Reaktion,1999:214
52 Alexander, Charles, ed. (1995) Talking the Boundless Book:Art, Language, and the Book Arts
53罕艳.傣族故事图画刺绣片[J].民族艺术研究,(2003)增(01)
54 李靖寰,汤海涛.云南民族美术概况[M].昆明：云南美术出版社,2005：393-394
55 临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：47-48
56彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术上册[M].昆明：云南人出版社,1994：94
68 罗彬.土家族民间美术的当代意义[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集,2006：117
59 周乙陶.经济转型时期的民族传统手工艺[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集2006：138
60 Robert C. Morgan, Art into Ideas:Essays on Conceptual Art, Cambridge et al.:Cambridge University Press,1996
61 Gregory Battcock, ed., Idea Art:A Critical Anthology[M], New York:E. P. Dutton,1973
[1]江应梁.傣族史[M].成都：四川民族出版社,1983：2
[2]http://tieba.baidu.com/f?kz=125743457
[3]Knapp,Brian. Copper, Silver and Gold [J]. Reed Library, Australia,1996:39-40
[4]刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：49～59
[5]郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102～108
[6]许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：4
[7]倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80
[7]倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80-82
[8]许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：8～11
[9]舒兴云.剪出的世界[J].民族文化报,1992.3
[10]彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
[11]李伟卿.话说云南剪纸[J].民族艺术研究,1996.3：57-60
[10]彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
[12]林超民.蜀身毒道浅探[J].西南民族历史研究集刊,1992年第2期
[13]童恩正.试谈古代四川与东南亚文明的关系[J].文物,1983年第9期
[14]http://www.zjxj.net/life/ShowArticle.asp?ArticleID=386&Page=1
[15]http://bbs.tiexue.net/post_3117570_1.html
[4]刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：3
[16]民族事务委员会编.新平彝族傣族自治县民族志[M].昆明：云南民族出版,1991：109
[17]临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：13-16
[18]张公瑾.傣族文化[M].长春：吉林出版社,1986：156
[4]刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：1-2
[19]王懿之.杨世光.贝叶文化论.昆明：云南人民出版社,1990：407-408
[20]马莉萍.从佛教文化看傣族剪纸艺术[J].涪陵师范学院学报,2007.5
[21]苏春丽,李艳.云南民俗风情与旅游[M].昆明：云南大学出版社,2005：4
[22]杨兆麟.傣族故事佛幡和故事布画[J].装饰,1998.4
[23]李伟卿.云南民族美术史论丛[M].昆明：云南人民出版社,1995：232
[5]郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
[24]柴京津.中国剪纸艺术[M].北京：人民美术出版社,1996：23
[25]杨兆麟.原始物象—村寨的守护和祈愿[M].昆明：云南教育出版社,2000：242
[26]左汉中.中国民间美术造型[M].长沙：湖南美术出版社,1992：235
[27]类维顺.现代图案设计计法实例[M].长春：吉林摄影出版社,20001：3
[28]徐雯.服饰图案[M].北京：中国纺织出版社,2000：54
[29]Le Corbusier, Towards a New Architecture[M]. Dover Publications,1985:36
[30]Laban, R.V. The language of movement[M]:a guidebook to choreutics. Plays[M], Boston 1976:78
[31]Bukumirovic, D.MagaMagazinovic[M]. BibliotekaFatalnesrpkijeknj. Narodaknj[M],1998:25
[32]Ger6n C. Enciclopedia de las artes pldsticas dominicanas:1844-2000[M]. Dominican
Republic s.n. Berlin,2000:479
[33]关尚卿.平面图案设计[M].石家庄：河北美术出版社,2000：22
[34]辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
[35]杨兴吉.浅谈传统剪纸与现代美术观念[J].民族艺术研究,1998(2)
[36]Barnes, A. C., The Art in Painting[M], Harcourt, Brace & World, Inc. NY,1937:21
[37]Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London:Reaktion,1999
[38]Restany. P. Plastics in arts [J]. Paris, New York,1974:46
[39]张蕊.云南傣族剪纸的社会功能及变异状况研究[D].昆明：云南民族大学硕士学位论文,2008
[40]La Farge,0. Plastic prayers[M]. dances of the Southwestern Indians. N. p.1930:29
[41]刀莹.佛、自然的交融——傣族剪纸特色[J].装饰,2004.1
[5]郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
[34]辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
[42]何瑞华.傣族园林植物文化[J].中国园林,2004年第4期
[43]West, Shearer. The Bullfinch Guide to Art[M]. Bloomsbury Publishing, UK,1996:43
[44]Michael Newman & Jon Bird, Rewriting Conceptual Art[M], London, Reaktion,1999:214
[45]Alexander, Charles, ed. Talking the Boundless Book:Art[M], Language, and the Book Arts,1995:78
[46]罕艳.傣族故事图画刺绣片[J].民族艺术研究,(2003)增(01)
[47]李靖寰,汤海涛.云南民族美术概况[M].昆明：云南美术出版社,2005：393～394
[17]临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：47～48
[48]彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术上册[M].昆明：云南人出版社,1994：94
[49]http://baike.baidu.com/view/11090.htm
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[51]周乙陶.经济转型时期的民族传统手工艺[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集2006：138
[52]Robert C. Morgan, Art into Ideas:Essays on Conceptual Art[M], Cambridge et al.: Cambridge University Press,1996:321
[53]Gregory Battcock, ed., Idea Art:A Critical Anthology[M], New York:E. P. Dutton, 1973:165
2 http://tieba.baidu.com/f?kz=125743457
3 Knapp, Brian. Copper, Silver and Gold[J].Reed Library, Australia,1996:39～40
4刘岩.南传佛教与傣族文化[M]].昆明：云南民族出版社,1993：49～59
5郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
6 许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：4
7倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80
8倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80～82
9许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：8-11
10 舒兴云.剪出的世界[J].民族文化报,1992.3
11 彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
12李伟卿.话说云南剪纸[J].民族艺术研究,1996.3：57-60
13 彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
14林超民.蜀身毒道浅探[J].西南民族历史研究集刊,1992年第2期
15童恩正.试谈古代四川与东南亚文明的关系[J].文物,1983年第9期
19民族事务委员会编.新平彝族傣族自治县民族志[M].昆明：云南民族出版,1991：109
20临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：13～16
21张公瑾.傣族文化[M].长春：吉林出版社,1986：156
22刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：1-2
23王懿之.杨世光.贝叶文化论.昆明：云南人民出版社,1990：407～408
24马莉萍.从佛教文化看傣族剪纸艺术[J].涪陵师范学院学报,2007.5
25 苏春丽,李艳.云南民俗风情与旅游[M].昆明：云南大学出版社,2005：4
26杨兆麟.傣族故事佛幡和故事布画[J].装饰,1998.4
27李伟卿.云南民族美术史论丛[M].昆明：云南人民出版社,1995：232
28郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
29柴京津.中国剪纸艺术[M].北京：人民美术出版社,1996：23
30 杨兆麟.原始物象—村寨的守护和祈愿[M].昆明：云南教育出版社,2000：242
31 左汉中.中国民间美术造型[M].长沙：湖南美术出版社,1992：235
32 类维顺.现代图案设计计法实例[M].长春：吉林摄影出版社,20001：3
33徐雯.服饰图案[M].北京：中国纺织出版社,2000：54
34 Le Corbusier, Towards a New Architecture[M], Dover Publications.1985: 36
35 Laban, R. V. The language of movement:a guidebook to choreutics. Plavs[M], Boston 1976:78
36 Bukumirovic, D. Maga Magazinovic. Biblioteka Fatalne srpkije knj[M]. Narodaknj,1998:25
37 Geron, C. Enciclopedia de las artes plasticas dominicanas:1844-2000[M]. Dominican Republic s.n. Berlin,2000:479
38关尚卿.平面图案设计[M].石家庄：河北美术出版社,2000：22
39辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
40 杨兴吉.浅谈传统剪纸与现代美术观念[J].民族艺术研究,1998(2)
41 Barnes, A. C., The Art in Paint ing [M], Harcourt, Brace & World, Inc., NY,1937:21
42 Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London:Reaktion,1999
43 Restanv. P. Plastics in arts [J]. Paris, New York,1974:46
44 张蕊.云南傣族剪纸的社会功能及变异状况研究[D].昆明：云南民族大学硕士学位论文,2008
45 La Farge,O. Plastic prayers:dances of the Southwestern Indians. N. p.1930:29
45 刀莹.佛、自然的交融——傣族剪纸特色[J].装饰,2004.1
47 郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
48 辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
49何瑞华.傣族园林植物文化[J].中国园林,2004年第4期
50 West, Shearer. The Bullfinch Guide to Art [M].Bloomsbury Publishing, UK,1996:43
51 Michael Newman & Jon Bird, ed., Rewriting Conceptual Art[M], London:Reaktion,1999:214
52 Alexander, Charles, ed. (1995) Talking the Boundless Book:Art, Language, and the Book Arts
53罕艳.傣族故事图画刺绣片[J].民族艺术研究,(2003)增(01)
54 李靖寰,汤海涛.云南民族美术概况[M].昆明：云南美术出版社,2005：393-394
55 临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：47-48
56彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术上册[M].昆明：云南人出版社,1994：94
68 罗彬.土家族民间美术的当代意义[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集,2006：117
59 周乙陶.经济转型时期的民族传统手工艺[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集2006：138
60 Robert C. Morgan, Art into Ideas:Essays on Conceptual Art, Cambridge et al.:Cambridge University Press,1996
61 Gregory Battcock, ed., Idea Art:A Critical Anthology[M], New York:E. P. Dutton,1973
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[4]刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：49～59
[5]郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102～108
[6]许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：4
[7]倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80
[7]倪洪泉,王立春.年画与剪纸[M].北京：中国展望出版社,1984：80-82
[8]许之敏.民间剪纸[M].北京：中国轻工业出版社,2006：8～11
[9]舒兴云.剪出的世界[J].民族文化报,1992.3
[10]彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
[11]李伟卿.话说云南剪纸[J].民族艺术研究,1996.3：57-60
[10]彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术下册[M].昆明：云南人出版社,1994：196
[12]林超民.蜀身毒道浅探[J].西南民族历史研究集刊,1992年第2期
[13]童恩正.试谈古代四川与东南亚文明的关系[J].文物,1983年第9期
[14]http://www.zjxj.net/life/ShowArticle.asp?ArticleID=386&Page=1
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[4]刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：3
[16]民族事务委员会编.新平彝族傣族自治县民族志[M].昆明：云南民族出版,1991：109
[17]临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：13-16
[18]张公瑾.傣族文化[M].长春：吉林出版社,1986：156
[4]刘岩.南传佛教与傣族文化[M].昆明：云南民族出版社,1993：1-2
[19]王懿之.杨世光.贝叶文化论.昆明：云南人民出版社,1990：407-408
[20]马莉萍.从佛教文化看傣族剪纸艺术[J].涪陵师范学院学报,2007.5
[21]苏春丽,李艳.云南民俗风情与旅游[M].昆明：云南大学出版社,2005：4
[22]杨兆麟.傣族故事佛幡和故事布画[J].装饰,1998.4
[23]李伟卿.云南民族美术史论丛[M].昆明：云南人民出版社,1995：232
[5]郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
[24]柴京津.中国剪纸艺术[M].北京：人民美术出版社,1996：23
[25]杨兆麟.原始物象—村寨的守护和祈愿[M].昆明：云南教育出版社,2000：242
[26]左汉中.中国民间美术造型[M].长沙：湖南美术出版社,1992：235
[27]类维顺.现代图案设计计法实例[M].长春：吉林摄影出版社,20001：3
[28]徐雯.服饰图案[M].北京：中国纺织出版社,2000：54
[29]Le Corbusier, Towards a New Architecture[M]. Dover Publications,1985:36
[30]Laban, R.V. The language of movement[M]:a guidebook to choreutics. Plays[M], Boston 1976:78
[31]Bukumirovic, D.MagaMagazinovic[M]. BibliotekaFatalnesrpkijeknj. Narodaknj[M],1998:25
[32]Ger6n C. Enciclopedia de las artes pldsticas dominicanas:1844-2000[M]. Dominican
Republic s.n. Berlin,2000:479
[33]关尚卿.平面图案设计[M].石家庄：河北美术出版社,2000：22
[34]辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
[35]杨兴吉.浅谈传统剪纸与现代美术观念[J].民族艺术研究,1998(2)
[36]Barnes, A. C., The Art in Painting[M], Harcourt, Brace & World, Inc. NY,1937:21
[37]Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London:Reaktion,1999
[38]Restany. P. Plastics in arts [J]. Paris, New York,1974:46
[39]张蕊.云南傣族剪纸的社会功能及变异状况研究[D].昆明：云南民族大学硕士学位论文,2008
[40]La Farge,0. Plastic prayers[M]. dances of the Southwestern Indians. N. p.1930:29
[41]刀莹.佛、自然的交融——傣族剪纸特色[J].装饰,2004.1
[5]郝云华.德宏傣族剪纸探析[J].楚雄师范学院学报,2007.22(7)：102-108
[34]辞海编辑委员会.辞海艺术分册[M].上海：上海辞书出版社,1980：402
[42]何瑞华.傣族园林植物文化[J].中国园林,2004年第4期
[43]West, Shearer. The Bullfinch Guide to Art[M]. Bloomsbury Publishing, UK,1996:43
[44]Michael Newman & Jon Bird, Rewriting Conceptual Art[M], London, Reaktion,1999:214
[45]Alexander, Charles, ed. Talking the Boundless Book:Art[M], Language, and the Book Arts,1995:78
[46]罕艳.傣族故事图画刺绣片[J].民族艺术研究,(2003)增(01)
[47]李靖寰,汤海涛.云南民族美术概况[M].昆明：云南美术出版社,2005：393～394
[17]临沧文化局.临沧非物质文化遗产保护名录[M].昆明：云南人民出版社,2007：47～48
[48]彭晓、赵耀鑫、马绍云、邓启耀.云南民族民间艺术上册[M].昆明：云南人出版社,1994：94
[49]http://baike.baidu.com/view/11090.htm
[50]罗彬.土家族民间美术的当代意义[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集,2006：117
[51]周乙陶.经济转型时期的民族传统手工艺[D].中国云南国际民间工艺高层论坛暨民间工艺品博览会论文集2006：138
[52]Robert C. Morgan, Art into Ideas:Essays on Conceptual Art[M], Cambridge et al.: Cambridge University Press,1996:321
[53]Gregory Battcock, ed., Idea Art:A Critical Anthology[M], New York:E. P. Dutton, 1973:165