摘要
青海土族服饰及其刺绣技艺受到多民族文化的浸染,在文化交融中逐渐形成了自己的特色。文章结合田野调查与文献考证,从青海土族盘绣艺术形式与特色出发,分析其文化多元生成背景,进而深入阐释盘绣的文化采借与认同表现。研究认为:土族盘绣针法以两针同时施绣为特色,不仅承载着民族的集体文化记忆,更具有强大的文化表意和文化传播功能。土族人民从周边蒙古族、藏族、汉族等民族文化中提取经典元素,转换成可视可感的符号,融入盘绣实践之中,实现着中华民族文化符号与意义的共享。土族盘绣是中华民族大家庭共享的服饰技艺与文化生成的代表之一,在与其他民族间的文化采借与认同中,促进着各自民族服饰文化的传承与创新交融。
The costume and embroidery techniques of the Tu ethnic group in Qinghai province have a long history,and their generation and development have been impregnated by the cultures of many ethnic groups,and have gradually formed their own characteristics in the cultural fusion.As the Tu ethnic group lives in the multi-ethnic area in the eastern part of Qinghai province,their Pan embroidery art shows similar cultural commonalities with the cultures of other ethnic groups,such as the Shui ethnic group,the Han nationality,and the Tibetan nationality,in terms of techniques,colors,and shapes.Starting from the art form and characteristics of Pan embroidery of the Tu ethnic group in Qinghai,the article explains in depth the cultural borrowing and identity manifestation of Pan embroidery art,which is of great value in analyzing the multifaceted generative background of its cultural formation and development,and is also of great significance to the study of the cultural symbols and meanings’dissemination and sharing of the big family of the Chinese nation,and the correlation of the costumes and their techniques among various ethnic groups.Based on the field investigation of Pan embroidery art of the Tu ethnic group in Huzhu county,Qinghai province,the article combines relevant objects and documentary evidence to make analogical observation and research on its double-needle simultaneous embroidery method,the color composition of its patterns,and the meaning of its cultural symbols from the viewpoints of the art form and characteristics of Pan embroidery.Two important conclusions are drawn.First,from the perspective of historical space,the Tu ethnic group in Qinghai province lives in a geographical space where many ethnic groups intermingle and live together,and is affected by multiple cultural systems.The ancestors of the Tu ethnic group had cultural borrowings and exchanges with the Han nationality,the Tibetan nationality,the Hui nationality and other ethnic groups,forming a fusion culture that has its own Shamanism cultural genes and encompasses the Qiang-Tibetan and Han cultures.According to the The Qing Imperial Illustrations of Tributary Peoples,comparing and referring to the national costumes’appearance of the Tu ethnic group in Qinghai province,Tibetan and the Han nationality,we can see the penetration and influence of foreign national costumes on the daily costumes of the Tu ethnic group,as well as the borrowing and fusion of the Tu ethnic group’s costumes with the costumes and cultures of other ethnic groups.Second,the Pan embroidery art of the Tu ethnic group is precisely a cultural phenomenon based on the multi-ethnic cohabitation and integration and the long-term contact between different cultural systems and mutual penetration.The Tu people extracted classical elements from the cultures of the neighboring Mongol ethnic group,the Tibetan nationality,the Han nationality and other ethnic groups,transformed them into visible and palpable symbols,and incorporated them into Pan embroidery,and the generation and development of Pan embroidery was achieved through mutual reference and fusion of ethnic cultures and arts.In terms of techniques,colors and shapes,Pan embroidery culture shows similar cultural commonalities with other cultures such as the Shui ethnic group,the Han nationality,and the Tibetan nationality,which is a clear example of the convergence and fusion of multiple cultures,as well as a manifestation of the mutual integration and identification within the Chinese national culture.The article systematically collects and arranges the Pan embroidery works of the Tu ethnic group,combines the artistic perspective and documentary evidence,and examines the cultural borrowing and identification of Pan embroidery art of the Tu ethnic group from various angles,such as history,region,culture,and technique.It not only focuses on the artistic qualities and connotations of the Pan embroidery of the Tu ethnic group itself,but also refers to and compares the similarities and differences between the Pan embroidery art of the Tu ethnic group and other costume cultures in terms of embroidery methods,images,colors,and cultural symbols from a holistic and macroscopic cultural viewpoint,so as to dig out the commonalities and correlations and to search for the excellent Chinese cultural resources that have been shared by all ethnic groups in the long course of history.
作者
周莹
许靖熙
吴济池
木斯
ZHOU Ying;XU Jingxi;WU Jichi;MU Si(School of Fine Arts,Minnzu University of China,Beijing 100081,China;Research Base for Forge a Strong Sense ofCommunity for the Chinese Nation,Southeast University,Nanjing 210096,China;School of Arts,Southwest Minzu University,Chengdu 610041,China)
出处
《丝绸》
CAS
CSCD
北大核心
2023年第11期117-125,共9页
Journal of Silk
基金
中央民族大学一流本科课程建设项目(KC2221)。
关键词
青海土族
盘绣
文化采借
认同
聚居
共融
the Tu ethnic group in Qinghai province
Pan embroidery
cultural borrowing
identity
cohabitation
integration
