哈萨克族民间工艺的传承与族群文化建构
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摘要
哈萨克族是一个古老的游牧民族,有着悠久的历史和灿烂的文化,哈萨克族由早期的塞种、匈奴、月氏,乌孙、康居、突厥等部落族群组成。其工艺美术在传承中融合,有着浓厚的民族特色和游牧文化气息。自原始社会以来,无论由陶、木或此后铜、铁等材料制作的碗、碟、盘、壶等生活器具,还是男女服饰、花毡,鞋帽以及住房、马具和室内陈设及各种手工艺品与图案艺术,都有精良的制作工艺。在哈萨克族中民间工艺图案、雕刻、刺绣和皮革业、编织业、建筑业、缝纫业、铁匠业、银匠业、靴鞋业等多种手工业较为繁盛。但在当下,社会经济的发展给哈萨克人带来了很大的冲击,他们的思想观念发生了翻天覆地的变化。尤其是年轻人,对时尚的执着追求,逐渐的抛弃了原有图案装饰。那些民间工艺匠人们创作的精致的图案作品只在家庭和较小的生活范围内展出,不能够得到广泛的传播,为了能让哈萨克民间工艺在传承中发展壮大。要利用市场杠杆来拓宽他们思路,解放思想。让他们接受外来族群的艺术文化,彼此接近,取长补短,使自己在融入大的环境的同时,广泛的接触它族文化艺术。这样便给它注入了旺盛的生命力,使它更加繁荣发展,更具有自主性和独特性,拓展更加开阔的发展空间,拥有更加优越的发展机会,使其在世界文化体系中占据合理的位置,让哈萨克民间艺术具有民族传统还要在世界范围大放异彩。
The kazak is an ancient nomads, has a long history and splendid culture, kazak, by early plug in hsiungnu, YueShi, the wusun, health living, the turks tribal ethnic groups. Kazakhstan craft art in the inheritance of fusion, having strong ethnic characteristics and the nomadic culture breath. Since the primitive society, whether by pottery, wood or thereafter copper, iron and other material produced bowl, dish, plate, pot of life such as appliances, or men and women dress, flower felt, shoes and hats and housing, harness and indoor display and various handicrafts and design art, all have sophisticated production technology. In the kazak in folk craft design, sculpture, embroidery and leather industry, BianZhiYe, construction, sewing industry, a blacksmith industry, founder of heritage boots shoes handicraft relatively prosperous. But at the time, the social economy development to the kazakh people bring great impact, their ideas has undergone earth-shaking changes. Especially the young, the persistent pursuit of fashion, gradually abandoned original pattern adornment. Those folk craftsmen people creation delicate design works only in family and smaller within the scope of life, can't get exhibited widely spread, in order to let the kazakh folk craft in the inheritance to grow. To use market levers to broaden their ideas and emancipate the mind. Let them accept foreign ethnic art culture, to approach each other and complement each other, make oneself in the environment at the same time in large, widely contacts it clan culture and art. This gave it infuse vigorous vitality, and to make it more prosperous development and has more autonomy and uniqueness, expand broader development space, has more superior development opportunities, make its are on the world cultural system occupies reasonable position, make kazak ethnic folk art in the world even traditional Saturday.
The kazak is an ancient nomads, has a long history and splendid culture, kazak, by early plug in hsiungnu, YueShi, the wusun, health living, the turks tribal ethnic groups. Kazakhstan craft art in the inheritance of fusion, having strong ethnic characteristics and the nomadic culture breath. Since the primitive society, whether by pottery, wood or thereafter copper, iron and other material produced bowl, dish, plate, pot of life such as appliances, or men and women dress, flower felt, shoes and hats and housing, harness and indoor display and various handicrafts and design art, all have sophisticated production technology. In the kazak in folk craft design, sculpture, embroidery and leather industry, BianZhiYe, construction, sewing industry, a blacksmith industry, founder of heritage boots shoes handicraft relatively prosperous. But at the time, the social economy development to the kazakh people bring great impact, their ideas has undergone earth-shaking changes. Especially the young, the persistent pursuit of fashion, gradually abandoned original pattern adornment. Those folk craftsmen people creation delicate design works only in family and smaller within the scope of life, can't get exhibited widely spread, in order to let the kazakh folk craft in the inheritance to grow. To use market levers to broaden their ideas and emancipate the mind. Let them accept foreign ethnic art culture, to approach each other and complement each other, make oneself in the environment at the same time in large, widely contacts it clan culture and art. This gave it infuse vigorous vitality, and to make it more prosperous development and has more autonomy and uniqueness, expand broader development space, has more superior development opportunities, make its are on the world cultural system occupies reasonable position, make kazak ethnic folk art in the world even traditional Saturday.
引文
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[1]阿斯力汉·巴根.哈萨克风情[M].乌鲁木齐:新疆美术摄影出版社,1994.
2《哈萨克族文化史》苏北海著新疆大学出版社1989.12第29页
3《哈萨克族文化大观》作者:贾合甫新疆人民出版社第381页2001-10哈萨克文
4孙秉山编著《民间工艺技法基础》,北京:中国社会出版社,1998年9月版,第3页
5孙秉山编著《民间工艺技法基础》,北京:中国社会出版社,1998年9月版,第45页
[2]阿斯力汉·巴根.哈萨克民俗文化[M].乌鲁木齐:新疆美术摄影出版社,2004.
[3]张文阁等编著.新疆民间美术丛书(1-5)[M].乌鲁木齐:新疆美术摄影出版社,2006.
[4]韩连赟.图说新疆民间工艺[M].乌鲁木齐:新疆人民出版社,2006.
[5]哈萨克族民间图案集编委会.哈萨克族民间图案集[M].乌鲁木齐:新疆人民出版社,1980.
[6]李安宁.新疆民族民间美术[M].乌鲁木齐:新疆人民出版社,2006.
[7]苏北海.哈萨克族文化史[M].乌鲁木齐:新疆大学出版社,1989.
[8]《哈萨克族简史》编写组.哈萨克族简史[M].北京:民族出版社,2008.
[9]任道斌.哈萨克族美术史[J].新美术,1992年01期.p38-57.
[10]毕桪.哈萨克民间文学概论[M].北京:中央民族学院出版社,1992.
[11]曹林.装饰艺术源流[M].北京:文化艺术出版社,2006.
[12]田自秉.中国工艺美术史[M].上海:东方出版中心,1985.
[13]李特文斯基等编著.中亚文明史(1-3卷)[M].北京:中国对外翻译出版公司,2000.
[14]赵嘉麒主编.哈萨克文化研究[C].乌鲁木齐:新疆人民出版社,2004.
[15]杨建新.中国少数民族通论[M].北京:民族出版社,2005.
[16]马戎.民族与社会发展[M].北京:民族出版社,2001.
[17]雷振扬等主编.民族学人类学论坛·第一辑[C].北京:民族出版社,2006.
[18]王铭铭.人类学是什么[M].北京:北京大学出版社,2002.
[19]宋蜀华、白振声主编.民族学理论与方法[M].北京:中央民族大学出版社,1998.
[20]林惠祥.文化人类学[M].北京:商务印书馆,1991.
[21]刘志军.乡村都市化与宗教信仰变迁[M].北京:社会科学文献出版社,2007.
[22]包路芳.社会变迁与文化调适[M].北京:中央民族大学出版社,2006.
[23][英]霍尔编.表征:文化表象与意指实践[M].徐亮、陆兴华译.北京:商务印书馆,2003.
[24][英]E.H.贡布里希.秩序感:装饰艺术的心理学研究[M].范景中、杨思梁、徐一维译.长沙:湖南科学技术出版社,2006.
[25][美]鲁道夫·阿恩海姆.视觉思维:审美直觉心理学[M].滕守尧译.成都:四川人民出版社,1998.
[26][美]鲁道夫·阿恩海姆.艺术与视知觉[M].滕守尧、朱疆源译.成都:四川人民出版社,1998.
[27] [美]鲁道夫·阿恩海姆等.艺术的心理世界[C].周宪译.北京:中国人民大学出版社,2003.
[28] [奥]马赫.感觉的分析[M].洪谦、唐钺、梁志学译.北京:商务印书馆,1997.
[29]影著.平面设计艺术[M].北京:中国人民大学出版社,2004.
[30]剑青.形式与意蕴:中国传统装饰艺术八讲[M].北京:北京大学出版社,2007.
[31]间、何洁、靳埭强:岁寒三友:中国传统图形与现代视觉设计[C].济南:山东画报出版社,2005.
[1]阿斯力汉·巴根.哈萨克风情[M].乌鲁木齐:新疆美术摄影出版社,1994.