族群艺术学语境下的苗族文化——贞丰型苗族背扇艺术引发的文化思考  

Miao Culture in the Context of Science of Art of Ethnic Groups:A Case Study of Beishan of Miao People in Zhenfeng

作　　者：淳于步[1] 张化良[1] CHUN Yu-bu;ZHANG Hua-liang(Kaili University, Kaili, Guizhou, 556000, China)

机构地区：[1]凯里学院,贵州凯里556000

出　　处：《原生态民族文化学刊》2018年第4期112-118,共7页Journal of Ethnic Culture

摘　　要：苗族背扇与服饰一样,往往与苗族生产生活的时代背景密切相关。这种民族工艺的时代性烙印,不但是其阶段性历史和文化的侧证,也是发现苗族局部迁徙活态的科学文献。居住在贵州黔东南黄平一带的"黑苗",有一部分在清代中后期迁徙到黔西南和安顺一带。从族群艺术的角度,对迁徙到西部方言区这部分"黑苗"族群的背扇艺术进行工艺符码的文化解码。该支系的文化嬗变的过程,证明了人类学界对于民族迁徙比较倚重的"文化最小变化原则"在特定的族群内不一定通行。As the same with costumes,Beishan(traditional baby carrier)has great connection with the background of daily lives of Miao ethnic groups.Such kind of ethnic craftwork has strongly proved the history and culture.Furthermore,it also has the function as the literature of Miao people’s emigration.For example,Hei Miao,living in the Huangping of Qiandongnan,has emigrated to southwest of Guizhou and Anshun.From the view of the science of art of ethnic groups,the present study investigated the art of Beishan of Hei Miao group to analyze the procedure of cultural changes.The result showed that it could be not common to apply the principle of minimal changes in culture in special ethnic groups.

关 键 词：族群艺术学 苗族背扇 文化变迁 

分 类 号：J528[艺术—艺术设计] K204[历史地理—历史学]