生态美学视域下鄂伦春族桦树皮画的历史发展与时代传承  

The Historical Development and Era Inheritance of the Oroqen Birch Bark Paintings from the Perspective of Ecological Aesthetics

作　　者：孙玉明[1] 张子怡 Sun Yuming;Zhang Ziyi(College of Arts,Northeast Electric Power University,Jilin Jilin 132011,China)

机构地区：[1]东北电力大学艺术学院,吉林吉林132011

出　　处：《西南林业大学学报（社会科学）》2024年第5期95-100,共6页Journal of Southwest Forestry University(Social Sciences)

基　　金：教育部人文社会科学项目“东北‘三少民族’传统木工艺的挖掘、整理及数据库建设研究”(20YJC760090)资助;吉林省社会科学基金项目“吉林省朝鲜族传统装饰图案的文化基因提取及设计应用研究”(2024B106)资助。

摘　　要：鄂伦春族在世代与森林相伴成长的历程中,形成了特色鲜明的桦树皮文化。鄂伦春族的桦树皮画不仅是传统桦树皮文化的历史传承,也是其朴素生态美学观的时代延续。传统桦树皮器物上装饰的出现与发展,可以看作是鄂伦春族桦树皮画的历史源流。在下山定居与“禁猎转产”之后,摆脱了实用性的束缚,鄂伦春族的桦树皮画在内容题材与创作技法等方面都展现出了新的时代风貌。研究表明,鄂伦春族桦树皮画的创新与发展,应坚守民族文化核心,并赓续传统生态审美观,才能根基稳固并持续向前创新发展。The Oroqen people,who have grown up in harmony with the forest for generations,developed a unique birch bark culture.Oroqen birch bark painting not only represents the historical inheritance of traditional birch bark culture but also embodies their simple ecological aesthetic views.The appearance and development of decoration on traditional birch bark objects can be seen as the historical origin of Oroqen birch bark painting.After settling down from the mountains and transitioning from hunting to other forms of production,Oroqen birch bark paintings have liberated themselves from the constraints of practicality,showcasing a new contemporary style in content themes and creative techniques.The innovation and development of Oroqen birch bark paintings should adhere to the core of their ethnic culture and continue the traditional ecological aesthetic ideology to maintain a solid foundation and continue moving forward.

关 键 词：生态美学 鄂伦春族 桦树皮文化 桦树皮画 

分 类 号：J219[艺术—美术]