基于图腾崇拜的花瑶服饰艺术研究  

Based on Totem-worshipped Huayao Clothing Art

作　　者：文牧江[1] 刘怡果[1] 

机构地区：[1]湖南科技大学艺术学院,湖南湘潭411201

出　　处：《湖南科技大学学报（社会科学版）》2013年第5期167-170,共4页Journal of Hunan University of Science and Technology(Social Science Edition)

基　　金：湖南省教育厅重点项目(09A030);湖南省教育厅一般课题(11C0559)

摘　　要：图腾是民族群体的象征,是一个族群区别于另一个族群的标志。图腾崇拜是具有民族文化特质的精神信仰与文化符号,通常以旗帜、族徽、服饰及纹身等为表现的载体。花瑶是一个迁徙民族,以盘瓠为祖先,同时认同中华民族共同的图腾——龙,在长期生活与迁徙过程中,花瑶与迁徙途中的各种文化交流融合,形成了多元的图腾崇拜。花瑶没有族徽、族旗与纹身,其服饰是图腾崇拜的最主要的载体,图腾崇拜对花瑶服饰艺术总体形态及花瑶挑花艺术有着非常重要影响,同时图腾崇拜禁忌在花瑶服饰中具有矛盾体现,充分体现了图腾崇拜的最终目的就是对现实生活与生命的崇拜。Totem is a symbol of ethnic groups and a sign for one ethnic group to differentiate from another. Totem worship, the carriers of which are flag, family crests, dresses and tattooing, is a spiritual belief and cul- tural emblems with ethnic cultural characteristics. Huayao is a migrated nation, who considers Panhu as their an- cestors, and also recognizes the Dragon, the Chinese common totem. During their long life and migration, Hua- yao integrates with all kinds of cultures on the way of migration and has multi totem worship. Huayao has no fam- ily crests, flag and tattooing. Their dress is the main carrier of their totem worship. Totem worship has greatly in- fluenced the general style of Huayao dress art and Huayao cross - stitch. At the same time, they also have con- tradictory reflections in their dresses, owing to the taboos of totem worship, which infers that the ultimate goal of totem worship is to worship real life and human being.

关 键 词：图腾 图腾崇拜 瑶族 花瑶 服饰 

分 类 号：J01[艺术—艺术理论]