北京木刻版《格斯尔传》中的“八吉祥”图考  

On the"Eight Auspicious Symbols"in the Beijing Woodblock Edition of the Epic of Geser

作　　者：敖斯琴 Nao Tsetsen(Department of Chinese Language and Literature,Northwest Minzu University,730030)

机构地区：[1]西北民族大学中国语言文学部,730030

出　　处：《中国蒙古学(蒙文)》2025年第1期176-182,239,共8页CHINA MONGOLIAN STUDIES

摘　　要：“八吉祥”图案集中体现了中国传统文化的独特性与多元性。在漫长的历史长河中,它经历了形态上的多次变化,并成为中国传统文化中较为代表性的装饰纹样之一。在北京木刻版《格斯尔传》中每卷上一部分,“八吉祥”图案作为独特的专门装饰,是特殊和重要的地位表现。文本中“八吉祥”图案顺序与1573-1716年的“八吉祥”图案顺序一致,描绘特点与明末、清初的风格相似。The"Eight Auspicious Symbols"are emblematic of the uniqueness and diversity of traditional Chinese culture..Over the course of history,these symbols have undergone a process of multiple variation in their form,and today,they remain one of the most iconic decorative motifs in Chinese traditional culture.In the Beijing woodblock edition of the Epic of Geser,the"Eight Auspicious Symbols"appear prominently as a special form of decoration,highlighting their distinctive and important role.The sequence of these symbols in the text aligns with the pattern of the"Eight Auspicious Symbols"used from 1573 to 1716,and their depiction shares stylistic similarities with the late Ming and early Qing periods.

关 键 词：北京木刻版《格斯尔传》 “八吉祥”图案 起源发展 形态特点 

分 类 号：G63[文化科学—教育学]