参考文献规范格式一、参考文献的类型参考文献(即引文出处)的类型以单字母方式标识,具体如下:M——专著 C——论文集 N——报纸文章J——期刊文章 D——学位论文 R——报告对于不属于上述的文献类型,采用字母“Z”标识。对于英文参考文献,还应注意以下两点:①作者姓名采用“姓在前名在后”原则,具体格式是: 姓,名字的首字母. 如: Malcolm Richard Cowley 应为:Cowley, .,如果有两位作者,第一位作者方式不变,之后第二位作者名字的首字母放在前面,姓放在后面,如:Frank Norris 与Irving Gordon应为:Norris, F. .;②书名、报刊名使用斜体字,如:Mastering English Literature,English Weekly。二、参考文献的格式及举例1.期刊类【格式】[序号]作者.篇名[J].刊名,出版年份,卷号(期号):起止页码.【举例】[1] 王海粟.浅议会计信息披露模式[J].财政研究,2004,21(1):56-58.[2] 夏鲁惠.高等学校毕业论文教学情况调研报告[J].高等理科教育,2004(1):46-52.[3] Heider, . . The structure of color space in naming and memory of two languages [J]. Foreign Language Teaching and Research, 1999, (3): 62 – .专著类【格式】[序号]作者.书名[M].出版地:出版社,出版年份:起止页码.【举例】[4] 葛家澍,林志军.现代西方财务会计理论[M].厦门:厦门大学出版社,2001:42.[5] Gill, R. Mastering English Literature [M]. London: Macmillan, 1985: .报纸类【格式】[序号]作者.篇名[N].报纸名,出版日期(版次).【举例】[6] 李大伦.经济全球化的重要性[N]. 光明日报,1998-12-27(3).[7] French, W. Between Silences: A Voice from China[N]. Atlantic Weekly, 1987-8-15(33).4.论文集【格式】[序号]作者.篇名[C].出版地:出版者,出版年份:起始页码.【举例】[8] 伍蠡甫.西方文论选[C]. 上海:上海译文出版社,1979:12-17.[9] Spivak,G. “Can the Subaltern Speak?”[A]. In L. Grossberg(eds.). Victory in Limbo: Imigism [C]. Urbana: University of Illinois Press, 1988, .[10] Almarza, . Student foreign language teacher’s knowledge growth [A]. In and (eds.). Teacher Learning in Language Teaching [C]. New York: Cambridge University Press. 1996. .学位论文【格式】[序号]作者.篇名[D].出版地:保存者,出版年份:起始页码.【举例】[11] 张筑生.微分半动力系统的不变集[D].北京:北京大学数学系数学研究所, 1983:.研究报告【格式】[序号]作者.篇名[R].出版地:出版者,出版年份:起始页码.【举例】[12] 冯西桥.核反应堆压力管道与压力容器的LBB分析[R].北京:清华大学核能技术设计研究院, 1997:.条例【格式】[序号]颁布单位.条例名称.发布日期【举例】[15] 中华人民共和国科学技术委员会.科学技术期刊管理办法[Z].1991—06—058.译著【格式】[序号]原著作者. 书名[M].译者,译.出版地:出版社,出版年份:起止页码.三、注释注释是对论文正文中某一特定内容的进一步解释或补充说明。注释前面用圈码①、②、③等标识。四、参考文献参考文献与文中注(王小龙,2005)对应。标号在标点符号内。多个都需要标注出来,而不是1-6等等 ,并列写出来。最后,引用毕业论文属于学位论文,如格式55.学位论文【格式】[序号]作者.篇名[D].出版地:保存者,出版年份:起始页码.【举例】[11] 张筑生.微分半动力系统的不变集[D].北京:北京大学数学系数学研究所, 1983:1-7.希望能帮到你。。。。
起源:苗族起源的多种说法之一是“东来说”,这与神木、鸟有关,也与中华民族的上古神话传说相关,说木神句芒辅佐了东方天帝太嗥。太嗥其实是一个以神鸟为图腾的上古氏族,又说太嗥便是伏轰,伏轰与女锅作为中华民族的祖先是尽人皆知的,他们传说中的样子便是龙的最初形式,《列子·黄帝》记:“疱牺氏(即伏羲)、女娲氏蛇身人面”,《春秋纬合诚图》记:“伏轰龙身牛首”,可以说,这些上古的图腾意向在苗族的绣品上反映得非常明显,比如那看似双龙戏珠的绣品,中间却是个人,这人其实就是苗民人祖姜央,而双龙便成了庇护苗民的伏羲与女娲。苗族的文化与中华民族的上古历史如此密切的缠绕一起,苗族的刺绣不仅热烈奔放,而且蕴意着神秘悠远的篇章,苗绣中的龙更以其丰富的意象与中华民族的开创历程紧密地联在一起。从这些残存着“人神混同”、“人兽混同”、“自然物类混同”的原始思维特征的绣品中我们看到,苗族人民营造出的龙是那样的率真稚气、热烈奔放、神奇壮丽、自由不羁。苗绣是指苗族民间传承的刺绣技艺,,是苗族历史文化中特有的表现形式之一,是苗族妇女勤劳智慧的结晶。主要流传在贵州省黔东南地区苗族聚集区。雷山台江等地的苗族服饰至今仍保留着原汁原味的传统风格,精美绝伦的刺绣技艺和璀璨夺目的银饰让人赞叹不已。苗族服饰的刺绣工艺有其独特性,如双针锁绣、绉绣、辫绣、破纱绣、丝絮贴绣、锡绣等。刺绣的图案在形制和造型方面,大量运用各种变形和夸张手法,表现苗族创世神话和传说,从而形成苗绣独有的艺术风格和刺绣特色。苗家妇女擅长纺织和刺绣,清《开化府志》、《广南府志》、民国《马关县志》、《邱北县志》都记载有苗族妇女“能织苗锦”之句。苗家姑娘个个会绣花。由于环境的熏陶,苗族女孩四五岁就跟着母亲、姐姐和嫂嫂学绣花了。到了七八岁,她们的绣品就可以镶在自己或别人的衣裙上了。苗绣是苗族文化的重要组成部分,也是中国服饰文化的瑰宝。要数中国少数民族功夫绝技,苗绣以其古老、神奇以及文献特性著称。现存的苗绣,起源于古代濮人的雕题文身。雕题就是用刺刺破皮,涂以朱砂或其它色彩;文身就是用刺仿龙、凤、夔花纹雕题,在人身上刺出现龙、凤、夔的保护色花纹,藉避龙、夔之害,战胜龙、夔,以谋生存。从苗族的《古老话》得知,苗族古代的雕题文身大师是嫁嘎。到了濮人的后裔南蛮,发明了蚕桑之术后,雕题文身开始从残酷的保身艺术形成美的装饰艺术,出现了“描”。描就是用朱砂等色彩仿生物色彩在蚕帛上描绘花纹。到了骨针、铜针、骨织板、铜织板出现后,雕题文身艺术又进一步演变成挑花和织花。到周代有了铁针,濮人后裔的挑花技艺便发展道了相当可观的程度。挑花只是在蚕帛上经纬线的垂直交叉网格,挑出物体的象征图案来,这也满足不了濮人后裔------南蛮对美化生活的要求,便往凿花、绣花技艺发展。濮人后裔凿花、绣花技艺到春秋、战国时期,形成了湘绣、蛮绣。湘绣以居住在湘江流域的濮人后裔相柳一支为主体,其绣花技艺向写实逼真的艺术境界发展。楚亡后,湘氏很快融合于华夏,经过秦、汉时期,组成汉族,湘绣也就成了中华民族绣花技艺的一个重要组成部分。蛮绣以居住在沅江流域、乌江流域的六蛮、七戎的蛮氏为主体,其凿花、绣花、织花技艺向幻想的艺术境界发展,保持了濮人后裔挑花、绣花、织花的对称图案格局,形成苗绣、苗锦风格。苗绣是由驩兜部与南蛮部结合;三苗部与西戎结合组成,即《尚书》说的:“串三苗于三危,以变西戎;放驩兜于崇山以变南蛮。”因为组成苗族的氏族部落大多居住分散,不相同属,个氏族均形成各自的文身装饰艺术。到了元、明清,汉籍中不断出现了按照服饰特点将苗民分为红苗、花苗、白苗、青苗、黑苗的记载。红苗以七戎、六蛮为主体,以龙凤为氏族徽;花苗以凿齿民为主体,以蝶为其氏族徽;白苗、青苗以人夷、九夷为主体,以夔麟为其氏族徽;黑苗以盘瓠蛮为主体、以狗为其氏族徽。他们均以某一动物作自己氏族的代表,崇拜的图腾。这种图腾崇拜极大地影响了氏族绣品装饰纹样的主体物象的表现和风格的形成。另一方面,随着各氏族间频繁的交往、装饰纹样的相互借鉴、补充、渗透的现象也日渐增多。苗绣针脚大体可分为绣、插、捆、洒、点、挑、串七种。大面积以绣针平绣,其中需要显出深浅色调的,则用插针,将彩色深浅不同插进去,形成几种色彩的连结平面;需要显出立体感的地方,则使用捆针,使其形体在绣面上突出来。绣面上需要显出立体感的细小部分,则使用洒针、点针和挑针。绣料正面和背面需要显出一致效果的,则采用串针。一幅绣品,常综合运用几种针脚,或配合粘花、贴花、补花和堆花等手法来完成。苗绣的色调亦带有强烈的夸张色彩,它常不按照真实物体的颜色配色,而是按其氏族的审美要求,大胆而灵活的加以运用;其色彩讲究冷暖的对比,注重在强烈的对比之中取的一种色彩美的协调,造成一种古朴又绚丽多彩的效果。苗绣的历史渊源悠久,其装饰纹样的夸张变形,既着意于生气勃勃的客观对象的表现,又梦境般的幻想色彩;针法丰富多变,色调古朴协调而又鲜艳明丽。这些,都使苗绣形成了独特的艺术风格。这也正是这种不同于其他兄弟民族的强烈的一是个性,使苗绣成为我国装饰艺术园地里额一只奇葩奇葩,给这一园地增添了风采。
The innovative application of Miao embroidery in modern clothing design in Guizhou Province Summary:Guizhou Miao embroidery is one of the intangible cultural heritage in the world. It is a wonderful flower in the history of Chinese embroidery and has a unique artistic charm. Miao embroidery is a cultural product created by the people of Miao nationality who exert their wisdom and diligence in the life of nature. It is the carrier of Miao culture. The application of Miao embroidery innovation in Guizhou in modern clothing design is beneficial to the establishment of unique artistic style of modern clothing, the integration of traditional technology and modern design, and the inheritance and development of traditional words:Guizhou Miao Embroidery; modern clothing design; innovative application IntroductionMiao embroidery in Guizhou Province is wonderful, but with the development of the times, Miao embroidery skills gradually decline, is facing the challenge of metamorphosis and regeneration. Designers in the new era should shoulder the responsibility of inheriting and developing the Miao embroidery techniques. The Miao embroidery is a source of inspiration for modern fashion design because of its rich and varied shapes, colors and techniques[1].In the new era, how to apply the innovation of Guizhou Miao embroidery to modern clothing design, how to inherit and innovate, how to collide traditional techniques with modern design to create new sparks, and how to make Miao embroidery glow with new vitality, etc. , it is worthy of our deep thought and study. 1. Main characteristics and distribution of Miao embroidery in GuizhouMiao embroidery in Guizhou is very particular. Different needlework methods should be considered according to the expression of different objects and artistic effects. Some needlework, some needlework, some needlework, and some needlework involve thread winding, weaving and knotting each other. Guizhou Miao embroidery mainly flat embroidery, lock embroidery, braids embroidery, seed embroidery, plate embroidery, broken thread embroidery, tin embroidery and so on, embroidery design texture rich three-dimensional sense. There are many branches of Miao ethnic group in Guizhou, and different regions have different representative types of embroidery: the most common flat embroidery, mainly distributed in southeast Guizhou Taijiang, Shidong, Rongjiang and Danzhai County. Flat embroidery single needle single thread, pay attention to even and even stitch. CREPE and braid embroidery are mainly distributed in Xi River and Leishan. It is one of the most unique traditional embroideries. The craft is complicated, first the silk thread weaves the small plait, with the traditional pattern pastes the cloth as the bottom, the small plait sews on the pattern, each sews a stitch to fold, causes the small plait drape three-dimensional, like the relief. Dazi embroidery is mainly distributed in Taijiang, Dazi is to wire around a few times and then insert the base cloth to play a knot in one heart, a Zhang Sengyou effect. Broken thread embroidery, mainly distributed in Taijiang, is a very special embroidery method in flat embroidery. Broken thread embroidery divides ordinary silk thread into 8 to 12 strands of fine thread, and then uses fine threads to make flat embroidery. It is exquisite, exquisite and luxurious. It is a fine work in Miao embroidery. Tin Embroidery is distributed in Jianhe. The Intelligent Miao people cut tin foil into thread and embroider it on cloth. The geometric pattern is the most fashionable style of embroidery[2].Miao embroidery in Guizhou Province is rich and colorful, with distinctive features, which congeals the national spirit and historical and cultural connotation of Guizhou. 2. Development Status of Miao embroidery in Guizhou ProvinceWith the development of social economy, there are fewer and fewer young people learning embroidery skills[3].Miao embroidery process innovation and age is proportional to the younger generation of the Miao is the carrier of process inheritance, lack of innovation will lead to Miao embroidery culture and environmental adaptability[4].The lack of innovation ability has become a big problem in the development of Miao embroidery Guizhou has unique tourism resources. In recent years, the rapid development of Guizhou tourism industry has led to the development of tourism products, and the design of tourism products with Guizhou characteristics has become a hot spot, including the development of Guizhou Miao embroidery tourism products with Guizhou characteristics, for example has the Miao nationality embroidery clothing, the bag, the small ornament and so on. Since 2015, the international ethnic and folk cultural tourism products fair of Guizhou has been held, fully displaying the colorful and varied forms of Guizhou, displaying ingenious ethnic cultural products and unique ethnic cultures, to promote the protection, inheritance and scientific and reasonable industrial transformation of national folk arts and crafts, so as to promote Guizhou mass entrepreneurship and innovation, further enhance cultural self-confidence, and enhance the soft power of culture. The opening of the fair has brought a new opportunity for the innovation and development of Miao embroidery in Guizhou. 3. The application of Miao embroidery in costume design in Guizhou application of Miao embroidery in traditional dress in Guizhou ProvinceMiao embroidery is not bound by natural form, pay attention to emotional expression screen, rich in strong artistic appeal. Abstract methods are widely used in the modeling of Traditional Miao costumes. The image of virtual animals and plants of the Miao people in Guizhou Province means that in the long course of history, the Miao people have naturally transcended the process of imitating reality in the face of various external circumstances, the abstract form of the object in the Miao embroidery to provide a broad space for its the traditional costumes, the Miao people in Guizhou have rich and colorful embroidery colors and techniques, which are full of the unique artistic language of the Miao Culture. In traditional costumes, Miao embroidery uses unique embroidery techniques to decorate costumes, which are often decorated on the body, placket, collar, cuffs and Hem of traditional costumes, the texture effect in the decoration increases the layering, massiness and artistic sense of the dress. Women dress up, complex exquisite needle will focus on the collar, cuffs and other parts, highlighting the focus of clothing, and ensure the harmony and unity of clothing and accessories[5]. application of Miao embroidery in modern clothing designThe modern clothing design uses the Miao nationality traditional color matching method for reference, the decorative color mainly gives priority to the bright color, forms the intense contrast color. Highlight the decorative patterns of clothing, traditional Miao costumes into modern clothing. In the modern clothing design, the traditional national cultural elements are increasing, the unique style of Guizhou Miao embroidery has created the traditional significance modern fashion works in the international modern clothing design application[6].In 2009, the famous domestic designer Lin Xuefei designed the evening dress with the Miao nationality characteristic by the tin embroidery element, and displayed it at the European wedding dress conference, which caused a great sensation overseas. Miaos'clothing elements are widely used in modern fashion design in European and American fashion shows. Modern women underwear design is often used embroidery techniques, highlighting the Miao embroidery close to the heart, showing the feminine soft and sexy[7].
把历史穿在身上 苗族服装是“化石”,可以窥见汉代中原服饰的影子。这个没有文字的民族,用针当笔、用彩线为墨,把几百年的苦难和迁徙的坎坷道路绣在衣裙上。 当“外人”被苗族刺绣折服,苗绣又被赋予更多的价值,那些本能的对历史的记录,如今变成了可以用金钱衡量的美。“中国也有高级服装”“苗族服装为何有如此魅力?”这是让韦荣慧感兴趣的问题。韦荣慧是中央民族博物馆副馆长,成长于贵州黔东南州的苗族人。“我接触了很多收藏中国少数民族服装的人,很多人一开始收藏各个民族的服装,到后来就只收藏苗族服装。所有被收藏的民族服装中,苗族服装被收藏的数量是最大的。”为了解答心中的疑惑,韦荣慧常常询问收藏者们喜欢苗服的原因。给出的答案五花八门,“有人说,这是看了让人流泪的服装,有人说它有一种让人温暖的感觉,有人说从苗族的刺绣里,能看到一种达观的人生态度”。一名叫做佐藤俊彦的日本收藏者对记者说,他喜欢苗族服装,因为“苗族刺绣最精美”,“没有两个绣花是一模一样的”。在北京工作的佐藤说,他在1996年第一次到贵州旅游时见到苗族刺绣,一见钟情,如今每年都要去贵州,民族服饰市场是每次必去的地方。苗族服装上的刺绣,是收藏者热衷苗服的原因。“很多民族服装,只能得到收藏家、博物馆和研究人员的关注,只有苗族服装,得到了最广泛的喜爱,不管是专业收藏者还是普通人,都会喜欢上苗服上的刺绣。”说起自己民族的服饰工艺,韦荣慧非常自豪。苗绣种类的繁多和工艺的精美,让其他的刺绣种类望尘莫及。在中国四大刺绣中,苗绣的工艺种类超过20种,挑绣、绉绣、叠绣等都是其他刺绣中没有的技艺。“有一种‘双针锁’的工艺,起源于汉代,这种绣法现在已经很难看到,但在苗绣中保存了下来。”苗服做工的精致也让藏家们爱不释手,“破线绣”是把一根丝线破为数根,苗族女人用比发丝还细的丝线刺绣,一张绣片常常要花去几个月的时间。韦荣慧介绍说,苗族服饰在巴黎展示时,法国高级服装工会主席戈巴克对苗绣赞不绝口,他说:“我们过去认为中国没有高级服装的历史,但在少数民族服装,特别是苗族服装中,我看到了。”让人着迷的还有苗族刺绣的纹样。中央民族博物馆里,收藏着一套“龙船衣”,这套衣服上的刺绣,描绘了苗族最热闹的龙船节的场景,热火朝天的龙舟赛跃然衣上。苗族刺绣不仅记录节日、图腾和英雄,还记载着苗族几百年迁徙的历史,在很多苗族刺绣图案中,都有水波状的花纹,苗族用这样的符号表示他们的祖先曾经跋山涉水,渡过长江、黄河,最后才来到西南。苗族人超群的想象能力,可以在刺绣中窥见一斑。苗绣中经常出现的蝴蝶图案,是苗族人传颂的图腾——“蝴蝶妈妈”。一棵枫树的树心生出一只蝴蝶,蝴蝶与水田中的水泡相恋,蝴蝶生出12个蛋,这12个蛋演化成自然万物和苗族人的祖先。苗族人相信,“蝴蝶妈妈”是所有苗族人共同的祖先。黔东南,是蝶纹造型种类最多的地区。仅在施洞镇,蝴蝶的造型就有好几种,有人面人身蝶翅的,也有人面人手人足,背后长出翅膀,像西方天使造型的。还有一些几何图形的刺绣,用非常抽象的线条代表蝴蝶,用来装饰衣服的衽边和裤脚。“苗族刺绣的用色也是独一无二的大胆,他们用红配绿、紫配绿、紫配黑,我们通常认为很俗的色彩搭配,在苗绣中被大胆地使用,达到了夸张的效果,他们用来一点也不俗。”韦荣慧说。鲜艳的色彩和多姿多彩的纹样,正是苗绣吸引人们的地方。“苗族人对织绣染艺术的感悟得之于当年高度发达的农业文明。或许可以说,苗族服饰艺术的精美与繁荣,非其他民族可以比肩。”北京服装学院民族服饰博物馆馆长杨源这样评价苗族服装。衣裳不只是衣裳姜文英今年53岁,她家的墙上有一张姜文英母亲身穿苗族盛装的照片,前襟和袖筒上绣着鲜艳的花纹,裤管也用刺绣装饰着。施洞苗族最喜欢的“机织布”是深褐色的,与五彩刺绣搭配,显得雍容而稳重。母亲身上这套盛装,是外婆的外婆给外婆出嫁做的,后来,外婆把它传给姜文英的母亲,现在,母亲又把它送给了姜文英。姜文英对这套传家宝很得意,她说,像这样做工精细、刺绣精美、历史久远的苗族盛装,现在已经很难见到了。我请求看一看姜文英的传家宝,她很坚决地摇了摇头,说只有节日、祭祀的时候,才会拿出来。姜文英没有女儿,儿媳们跟着她学刺绣学得不错,至于传家盛装是否会传给其中一个儿媳,姜文英还没决定。没有一个民族像苗族这样,把妇女的服装看得如此重要和神圣,苗族女人一生中用于缝纫、刺绣的时间之多,大概也没有其他民族的女人可以相比。根据1957年的调查,在贵州省台江县施洞地区,缝制一套一等盛装,需要用427天,缝制一套二等盛装,需要337天。一名苗族妇女需要的不止一套盛装,女人有了孩子,背小孩用的背带更是要花费大量的时间。正因为背带上的刺绣鲜艳精美,在今天,苗族背带是很多游客和收藏者最钟情的苗族服饰之一。姜文英听长辈说,自己的家族是几百年前从陕西迁徙到贵州的,她现在缝制的衣服款式和刺绣的样式,与几百年前先辈中女人的服饰并没有太大的差别。出嫁时,姜文英穿着与母亲的嫁衣同样款式的盛装出门。当汉族服饰经历了一次次翻天覆地的巨大变化时,苗族服装却坚强地固守着,几百年来没有改变。很多研究苗族服饰的人困惑于苗族服饰历代不变的原因,一个被认同的原因是,这个曾经经历太多苦难的民族,在被迫离开中原迁徙西南的过程中,靠统一的服饰来强调民族的团结,并保持自己民族的传统和文化。服装在苗服婚姻中扮演着极其重要的角色,是它维系着这个民族的传统,正因如此,苗族女人才会穷尽一生的精力来制作衣裳。在苗族内部,有无数个“婚姻集团”,同一个“婚姻集团”内的男女才能通婚,辨别“婚姻集团”的标志,就是服装。每年农历的三月十五日,是台江县施洞苗族最隆重的节日,当地人叫“姊妹节”。苗族男女穿着盛装,从四面八方聚到一起,唱歌、喝酒,寻找自己倾心的对象。苗族小伙子只要看到姑娘衣裳的款式和自己母亲一样,就知道姑娘是自己可以挑选的结婚对象,如果款式不同,就不能上前求爱了。如果不是苗族人固执地保留着对制作精美服装的热情,也许,这个民族的风俗和传统,早就在迁徙中被外族的影响所淹没。反过来,苗族的风俗也捍卫了苗服制作代代相传。苗族婚俗中,女孩结婚后的当天或者几天后,就回到自己娘家“坐家”,“坐家”时间可能是几个月,也可能是一两年。“坐家”几乎是苗族少妇专门用于刺绣的时间,在“坐家”的日子里,新娘能够得到娘家人特殊的照顾,她不用从事太多的家务和劳作,有更多的时间专心刺绣,给自己制作盛装,也给将来的孩子缝制背带、衣帽。衣裙上的历史在游人们来到施洞镇之前,每一个苗族家庭都按部就班地过日子,男人下田耕作,女人操持家务、绣花做衣。女儿照着母亲教授的花样学绣花,母亲教龙,就绣龙;母亲教蝴蝶,就绣蝴蝶。母亲为女儿绣嫁衣,等女儿有了女儿,女儿就会为自己的女儿绣嫁衣。为什么每一代制作的服饰款式都几乎相同?绣花的图案为什么基本不变?那些艳丽的图案代表什么意思?就像家家都要淘米做饭一样,女人学刺绣,做衣服,在苗族人眼中是不需要探究起因的生活本身。姜文英7岁开始跟着母亲学绣花,现在她是施洞镇有名的剪纸高手。施洞苗族最擅长的刺绣手法是“平绣”和“破线绣”,这两种刺绣都需要先剪纸,然后按照剪纸的图样在布上刺绣,所以剪纸是刺绣中不可分割的重要工序,纸剪不好,花也绣不好。一幅剪纸就是一个故事,根据剪纸绣成一张绣片,把绣片缝到苗族服装相应的位置上,才能完成一套精美的苗服。会剪纸的人越来越少了,能像姜文英一样剪出完整的古歌故事的人,就更少了。苗族自古没有自己的文字,祭祀仪式中的主持人担当了记录历史的重任,他们在仪式中哼唱的古歌,记载了苗族人对世界初始的猜测,对迁徙历程的记忆,和他们信仰的天地鬼神。苗族刺绣将无形的古歌,绣在衣服上,一幅绣片一个片断,连在一起,就是苗族人的历史记忆。姜文英剪古歌从来没有模板,故事和图形都在她的脑子里,一首古歌,最少要剪30幅剪纸。姜文英拿出一幅剪纸,讲的是铸造日月的故事。画面里两个人围着一个火炉挥舞大锤,“太阳是金子造的,月亮是银子造的,铸造的人是雄公和宝公。”姜文英用苗语讲解剪纸上的故事。接下来一幅,图样是一个双腿奇长的人肩挑箩筐,箩筐里装着太阳和月亮。姜文英说,日月铸造好了,是由一个长着九节腿和九节骨的人,用箩筐把日月挑到天上去的,从此,才有了苗族人生活的天地日月。对万物起源的想象,羽化成苗绣,被苗族女人穿在身上,那些属于这个民族的故事,就这样世代流传下来。
贵州苗族民间传统工艺。其技艺精湛,针法独特,迥异于湘绣、苏绣、蜀绣。其图案蕴含着丰富的历史文化意味,是中华民族艺术宝库中的一支奇葩。传统的苗绣,主要用于服饰和生活用品,由于制作中的严格要求,苗族少女的一套嫁衣,往往耗时数年,而且多是自用,很少进入市场。黔西南州开发的旅游工艺新产品——苗绣领带,运用苗绣中的软绣、反绣方法,又注意融进当代文化意识,加之色调高雅,图案浮雕感强,因此,特别受到旅游者的喜爱。 如果你们要到贵州旅游,想咨询景点、自驾线路、住的地方等,可以问下贵州省旅游局的12301热线。如果是自驾或自助旅游建议可登录贵州旅游官方网站购买你想去的景区门票,比如贵阳的天河潭景区挂牌价是50元,通过官方网站购买只要43元,贵州省100多个景点都将陆续推出,问12301也可以。
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