论东北民间艺术样式特点及保护与传承
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摘要
冰灯是流传于中国北方的一种古老民间艺术形式,因其独特的自然优势、时令优势和地域优势,黑龙江可以说是制作冰灯最早的地方。自然环境使哈尔滨人不能不爱冰、不能不恋雪,而哈尔滨人又为这冰雪赋予了艺术的生命。冰雪艺术是冰雪节的灵魂,冰灯游园会和雪雕游园会也就成了冰雪节的重头戏;萨满文化在国际学术界已成为一门独立的热门研究学科,萨满文化艺术属于人类问世以来的童年艺术阶段,它象征了人类从原始迈向文明。萨满文化的艺术价值在我国北部所有少数民族中占据着同等的重要地位,其文化内涵反射出少数民族的历史文化、宗教信仰、道德观念、民族风俗、婚姻制度、经济状况、文学水平、艺术修养等方面的发展状况。它生动的记录了人类从原始社会迈向文明社会的每一个足迹;桦树皮文化是我国北方少数民族的一种传统文化,地处东北地区的黑龙江省以其优越的地理位置,与桦树皮文化从远古时期就结下了渊远之缘,并一直流传到现代社会。黑龙江省土地肥沃,其中桦树林主要分布在大、小兴安岭、三江平原、完达山、长白山及肥沃的松嫩平原上。考古人员发现,在远古女真族时代,村里原始先民的衣食住行与桦树皮就已经有关联了,他们利用这种自然资源,以桦树皮为原材料制造出种类丰富且具有狩猎文化特征的桦树皮制品,并在我国北方疆域的诸多少数民族中广为流传;赫哲族居住在这种依山傍水的自然环境中,与鱼类自古以来便息息相关。在鱼皮文化带内,以鱼皮为原料制成的物品主要是服装鞋帽类,由其衍生出来的各类生产生活用具层出不穷,概括起来由大到小种类繁多、应有尽有。中华民族文化史在中华大地上以世代相传的方式,从多元走向一元、又从一元走向多元,最终形成中华民族文化的多元一体化格局。据此,可以界定我国古代东北民族的地域、种族和语种,具有极高的研究价值和科学性。
Ice lantern, as a popular form of folk art in North China, has a very long history. Because of its unique seasonal and geographical advantages as well as distinctive natural resources, Heilongjiang can be said to be the first place to make ice lanterns. Natural environment makes Harbin people fall in love with ice and snow. Furthermore, Harbin people have given life to ice and snow, as an art, which becomes the soul of the ice and snow festival. Garden parties on ice lanterns and snow sculptures highlight the ice and snow festival. Shaman culture has become an independent and popular field of study in the international academic community. Shaman culture belongs to the childhood art stage in human history and symbolizes the shift of human beings from primitive society to civilization. The artistic value of Shaman culture is as important as other minorities’in North China, which has vividly recorded human’s each step from primitive society to civilization. Its culture connotation reflects the development of history, culture, religious belief, moral ideas, cultural customs, marriage system, economic situation, literature, artistic culture and so on. The birch bark culture is a traditional culture of the minorities in the north. Because of its favorable location---in the northeastern part, Heilongjiang Province has deeply related to birch bark culture from ancient times and been transmitted to present. Heilongjiang Province is rich in soil. The birch woods grow vastly on the fertile land of the Great Khingan Mountains, the Lesser Khingan Mountains, the Three River Plain, Mount Wanta, Mount Changbai and Songnen Plain. Archeologist found that back in such ancient times as Nvzhen Period, there has been a close connection between every aspect of the natives’life and the birch bark. Ancestors of the minorities made full use of this natural resource, out of which, they made various kinds of products characterized with hunting culture. This practice was popular among many minorities in the northern territory. The Hoche live in a natural land with mountains and waters around it and thus have been closely interrelated with fish since ancient times. In a culture featured by fish skin, fish skin becomes the major raw material for clothing, shoes and hats. Also, all kinds of production and living facilities made from the fish skin emerge in all sizes and varieties. The Chinese nation develops its culture by generations from multiculture to monoculture, then again evolves to multiculture from monoculture and finally forms multiple integration pattern of Chinese national culture. Accordingly, it can be concluded that the region, race and language of ancient northeast minority has high value for study and science.
Ice lantern, as a popular form of folk art in North China, has a very long history. Because of its unique seasonal and geographical advantages as well as distinctive natural resources, Heilongjiang can be said to be the first place to make ice lanterns. Natural environment makes Harbin people fall in love with ice and snow. Furthermore, Harbin people have given life to ice and snow, as an art, which becomes the soul of the ice and snow festival. Garden parties on ice lanterns and snow sculptures highlight the ice and snow festival. Shaman culture has become an independent and popular field of study in the international academic community. Shaman culture belongs to the childhood art stage in human history and symbolizes the shift of human beings from primitive society to civilization. The artistic value of Shaman culture is as important as other minorities’in North China, which has vividly recorded human’s each step from primitive society to civilization. Its culture connotation reflects the development of history, culture, religious belief, moral ideas, cultural customs, marriage system, economic situation, literature, artistic culture and so on. The birch bark culture is a traditional culture of the minorities in the north. Because of its favorable location---in the northeastern part, Heilongjiang Province has deeply related to birch bark culture from ancient times and been transmitted to present. Heilongjiang Province is rich in soil. The birch woods grow vastly on the fertile land of the Great Khingan Mountains, the Lesser Khingan Mountains, the Three River Plain, Mount Wanta, Mount Changbai and Songnen Plain. Archeologist found that back in such ancient times as Nvzhen Period, there has been a close connection between every aspect of the natives’life and the birch bark. Ancestors of the minorities made full use of this natural resource, out of which, they made various kinds of products characterized with hunting culture. This practice was popular among many minorities in the northern territory. The Hoche live in a natural land with mountains and waters around it and thus have been closely interrelated with fish since ancient times. In a culture featured by fish skin, fish skin becomes the major raw material for clothing, shoes and hats. Also, all kinds of production and living facilities made from the fish skin emerge in all sizes and varieties. The Chinese nation develops its culture by generations from multiculture to monoculture, then again evolves to multiculture from monoculture and finally forms multiple integration pattern of Chinese national culture. Accordingly, it can be concluded that the region, race and language of ancient northeast minority has high value for study and science.
引文
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[2]杨杰.哈尔滨旅行图鉴[M].哈尔滨:黑龙江人民出版社,2008:106-140.
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[9]满大庆.趣闻黑龙江[M].北京:北京旅游教育出版社,2007:196-268.
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[19]卡丽娜.驯鹿鄂温克人文化研究[M].沈阳:辽宁民族出版社,2004:152-229.
[20]许平.造物之门[M].西安:陕西人民美术出版社,1998:20-78.
[21]高丙中.中国民俗概论[M].北京:北京大学出版社,2009:105-206.
[22]徐累.艺术与生活经典系列[M].北京:中国人民大学出版社,2009: 106-158.
[23]夏燕靖.中国艺术设计史[M].沈阳:辽宁美术出版社,2001: 139-225.
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[26]张道一.古典艺术研究——汉画故事[M].重庆:重庆大学出版社,2007:29-83.
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[28]赵农.设计概论[M].西安:陕西人民美术出版社,2005:187-203.
[29]泰勒.原始文化[M].上海:上海人民出版社,1988:118-170.
[30] D.T.Rice,Islamic Art,Thames and Hudson,Revised edition. Islam and Muslim Art[M].New York:Harry N.Abrams, 1979:58-63.
[31]邢莉.民间信仰与民俗生活[M].北京:中央民族大学出版社,2008: 112-229.
[32]黄华明,李鸿明.装饰图案[M].重庆:重庆大学出版社,2008:19-47.
[33]雷圭元.中国图案史[M].长沙:湖南美术出版社,1997:119-187.
[34]刘永东.基础图案[M].北京:中南大学出版社,2003:41-62.
[35]吴山.中国历代装饰纹样[M].北京:人民美术出版社,1992:71-79.
[36]常沙娜.中国敦煌历代装饰图案[M].北京:清华大学出版社,2004:113-209.
[37]张博泉,魏存成.东北古代民族·考古与疆域[M].长春:吉林大学出版社,1998:22-97.
[38]吕品.赫哲美术探寻录[M].哈尔滨:哈尔滨出版社,1956:18-79.
[39]张博泉.东北历代疆域史[M].长春:吉林人民出版社,1981: 38-115.
[40]韦伯.韦伯作品集[M].康乐,简惠美,译。广西:广西师范大学出版社,2004: 127-206.
[41]祁红.CHINESE FOLK CUSTOMS[M].英国:外文出版社,2009:85-106.
[42]唐卡.FOLK CUSTOMSOF-CHINA[M].上海:上海人民美术出版社,1997: 95-116.
[2]杨杰.哈尔滨旅行图鉴[M].哈尔滨:黑龙江人民出版社,2008:106-140.
[3]子冈,吴桂清.哈尔滨冰雪旅游指南[M].哈尔滨:东北林业大学出版社,2001: 82-97.
[4]刘小萌,定宜庄.萨满教与东北民族[M].长春:吉林教育出版社,1990: 48-107.
[5]李重生.赫哲风土记[M].长春:吉林人民出版社,1989:19-54.
[6]凌纯声.松花江下游的赫哲族[M].上海:上海文艺出版社,1985:31-95.
[7]南文渊.东北民族研究[M].大连:辽宁民族出版社,2007:19-50.
[8]孙运来.黑龙江流域民族的造型艺术[M].天津:天津古籍出版社,1990:227-228.
[9]满大庆.趣闻黑龙江[M].北京:北京旅游教育出版社,2007:196-268.
[10]关捷.东北少数民族历史与文化研究[M].沈阳:辽宁民族出版社,2007:104-163.
[11]米大伟.东北历史[M].哈尔滨:黑龙江人民出版社,2009:202-254.
[12]杨继国.文艺的民族形式和民族特色[M].宁夏:人文社会科学版,1980: 24-96.
[13]贡布里希.艺术发展史[M].天津:天津人民美术出版社,1991:208-217.
[14] [英] E.H.贡布里希.艺术与错觉[M].长沙:湖南科学技术出版社,2009: 196-346.
[15]蒋述卓.宗教文艺与审美创造[M].广州:暨南大学出版社,2005:116-129.
[16]王受之.世界现代设计史[M].北京:中国青年出版社,2002:36-82.
[17] Needleman, Deborah . THE DOMINO BOOK OF DECORATING[M].USA:Simon&Schuster,2008: 71-124.
[18]贡布里希.艺术的故事[M].London and New York:广西美术出版社,1950: 170-174.
[19]卡丽娜.驯鹿鄂温克人文化研究[M].沈阳:辽宁民族出版社,2004:152-229.
[20]许平.造物之门[M].西安:陕西人民美术出版社,1998:20-78.
[21]高丙中.中国民俗概论[M].北京:北京大学出版社,2009:105-206.
[22]徐累.艺术与生活经典系列[M].北京:中国人民大学出版社,2009: 106-158.
[23]夏燕靖.中国艺术设计史[M].沈阳:辽宁美术出版社,2001: 139-225.
[24]王尧.中华文化通志[M].上海:上海人民出版社,1998: 172-228.
[25] BECATTI, GIOVANNI.艺术和趣味[M].Florence:Arte a gusto negli scrittori latini,1951: 36-79.
[26]张道一.古典艺术研究——汉画故事[M].重庆:重庆大学出版社,2007:29-83.
[27] [苏] A·B·斯莫利亚克.下阿穆尔及萨哈林岛各民族的夏季交通工具[M].哈尔滨:黑龙江人民出版社,1985:20-53.
[28]赵农.设计概论[M].西安:陕西人民美术出版社,2005:187-203.
[29]泰勒.原始文化[M].上海:上海人民出版社,1988:118-170.
[30] D.T.Rice,Islamic Art,Thames and Hudson,Revised edition. Islam and Muslim Art[M].New York:Harry N.Abrams, 1979:58-63.
[31]邢莉.民间信仰与民俗生活[M].北京:中央民族大学出版社,2008: 112-229.
[32]黄华明,李鸿明.装饰图案[M].重庆:重庆大学出版社,2008:19-47.
[33]雷圭元.中国图案史[M].长沙:湖南美术出版社,1997:119-187.
[34]刘永东.基础图案[M].北京:中南大学出版社,2003:41-62.
[35]吴山.中国历代装饰纹样[M].北京:人民美术出版社,1992:71-79.
[36]常沙娜.中国敦煌历代装饰图案[M].北京:清华大学出版社,2004:113-209.
[37]张博泉,魏存成.东北古代民族·考古与疆域[M].长春:吉林大学出版社,1998:22-97.
[38]吕品.赫哲美术探寻录[M].哈尔滨:哈尔滨出版社,1956:18-79.
[39]张博泉.东北历代疆域史[M].长春:吉林人民出版社,1981: 38-115.
[40]韦伯.韦伯作品集[M].康乐,简惠美,译。广西:广西师范大学出版社,2004: 127-206.
[41]祁红.CHINESE FOLK CUSTOMS[M].英国:外文出版社,2009:85-106.
[42]唐卡.FOLK CUSTOMSOF-CHINA[M].上海:上海人民美术出版社,1997: 95-116.