本文選題：女紅 + 女紅文化��； 參考：《西南大學(xué)》2017年碩士論文

【摘要】：“女紅(音gong)”是女性以純手工的方式用針線縫制衣飾等的中國(guó)傳統(tǒng)技藝,其主要工作包括紡織、縫紉、刺繡等。在對(duì)女紅現(xiàn)象的研究中,筆者把重點(diǎn)放在女紅文化的美育價(jià)值上。因?yàn)榕t作品展示了很多獨(dú)樹(shù)一幟的視覺(jué)審美元素,也反映了女紅制作者的蕙質(zhì)蘭心。如果將傳統(tǒng)女紅特有的藝術(shù)價(jià)值和制作者在繡制的過(guò)程中產(chǎn)生的情感體驗(yàn)作為美育的載體,引導(dǎo)我們開(kāi)展適宜的審美實(shí)踐活動(dòng),對(duì)提升審美感知、豐富審美體驗(yàn)和激發(fā)審美創(chuàng)造能力有極大的促進(jìn)作用;對(duì)中國(guó)本土文化與民族歸屬感認(rèn)同有獨(dú)特的價(jià)值;特別是對(duì)女性溫柔細(xì)膩、優(yōu)雅端莊的氣質(zhì)培養(yǎng)有重要作用。本文主要從女紅藝術(shù)的發(fā)展概況、女紅的文化類(lèi)型及藝術(shù)特點(diǎn)、女紅文化的美育價(jià)值這三方面進(jìn)行研究。首先,對(duì)女紅是一種藝術(shù)進(jìn)行了肯定,同時(shí)也肯定了女紅是一種自發(fā)生成的文化體系。伴隨我們?nèi)Ф嗄甑霓r(nóng)業(yè)生產(chǎn)社會(huì)孕育了“以農(nóng)為本”的思想和“男耕女織”的社會(huì)結(jié)構(gòu),“女紅”就是在這種生活傳統(tǒng)中應(yīng)運(yùn)而生。在生產(chǎn)力和生產(chǎn)關(guān)系的變化進(jìn)程中女紅也在不斷地發(fā)展,在原始社會(huì)、封建社會(huì)和現(xiàn)代社會(huì)有不同的表現(xiàn)形式。又因?yàn)樽匀画h(huán)境、禮制文化、民族習(xí)慣等內(nèi)外條件的不同,女紅風(fēng)格亦呈現(xiàn)地域性差異,整體上表現(xiàn)為北方女紅的自由奔放和南方女紅的精致細(xì)膩。其次,因女紅制作者文化層次和女紅物品使用對(duì)象不同等因素,使得中國(guó)女紅藝術(shù)呈現(xiàn)類(lèi)型和功能的多樣性:如有職業(yè)工匠所繡制的官方女紅;悠閑女子繡制的文人女紅;家庭主婦繡制的民間女紅等。而民間女紅以其“根”性文化特征支撐著整個(gè)民族的文化傳承,廣泛而深刻地點(diǎn)綴在人們生活的方方面面,其所蘊(yùn)含的“真”“善”“美”兼具的審美價(jià)值成為女紅文化的集大成者,因此本文論述的重心是民間女紅。最后,本文對(duì)女紅文化的美育價(jià)值進(jìn)行了歸納。從情感寄托到文學(xué)傳播;從繡制過(guò)程到著名繡品;從人文交流到女性氣質(zhì);從模仿繡制到設(shè)計(jì)創(chuàng)作等�？梢园l(fā)現(xiàn),女紅藝術(shù)從創(chuàng)作過(guò)程到成品到欣賞都飽含豐富的審美教育資源。女紅作為美育的載體,貼近家庭、貼近生活,因其藝術(shù)的獨(dú)特性,使得美育活動(dòng)具有可參與可操作可欣賞可傳播的優(yōu)勢(shì)。如果將女紅藝術(shù)融入到文化傳承中,融入到學(xué)校美育和家庭美育中,作為一種生活美學(xué)觀,或許我們能收獲更多甜蜜和幸福!這也是我研究如此美麗的女紅現(xiàn)象的初衷和愿景。
[Abstract]:"female gong" is a traditional Chinese technique of sewing, sewing, embroidery and so on by women in a pure hand way. The main work includes textile, sewing, embroidery and so on. In the study of female red phenomenon, the author focuses on the aesthetic value of female red culture. Because female red works show a lot of unique visual aesthetic elements, but also reflects the female red manufacturer's cymbidium heart. If we regard the unique artistic value of traditional female red and the emotional experience produced by the manufacturer in the process of embroidery as the carrier of aesthetic education, we should be guided to carry out appropriate aesthetic practice activities to promote aesthetic perception. Enriching aesthetic experience and arousing aesthetic creative ability has great promoting effect; it has unique value to Chinese native culture and national sense of belonging; especially it plays an important role in the cultivation of women's gentle and delicate elegant and dignified temperament. This article mainly from the female red art development survey, female red culture type and the artistic characteristic, the female red culture esthetic education value these three aspects carries on the research. First of all, it affirms that female red is a kind of art, and also affirms that female red is a kind of spontaneous cultural system. Along with our agricultural production society for more than three thousand years, the idea of "taking agriculture as the foundation" and the social structure of "men's and women's weaving" were conceived, and "female red" came into being in this kind of life tradition. In the process of the change of productive forces and relations of production, female red has been developing constantly. In primitive society, feudal society and modern society have different forms of expression. Because of the differences of natural environment, ritual culture, national customs and other internal and external conditions, the female red style also presents regional differences, the overall performance is the north female red free and unrestrained and the southern female red delicate and delicate. Secondly, due to the different cultural levels of female red producers and the different objects used in female red articles, the Chinese female red art presents diversity of types and functions, such as official female red embroidered by professional artisans, literati red women embroidered by leisurely women; Housewife embroidered folk women, etc. And folk female red with its "root" cultural characteristics support the cultural heritage of the whole nation, widely and profoundly embellished in all aspects of people's lives, The aesthetic value of "truth" and "goodness" and "beauty" has become the epitome of female red culture, so the focus of this paper is folk female red. Finally, this paper summarizes the aesthetic value of female red culture. From emotional sustenance to literary communication; from embroidery process to famous embroidery; from humanistic communication to femininity; from imitation embroidery to design creation. It can be found that female red art is rich in aesthetic education resources from creation process to finished product to appreciation. As the carrier of aesthetic education, female red is close to family and life. Because of its unique art, aesthetic education activities have the advantage of being operable, appreciable and transmissible. If the female red art into the cultural heritage, into the school aesthetic education and family aesthetic education, as a life aesthetics, perhaps we can harvest more sweet and happy!!! This is also my original intention and vision to study such beautiful female red phenomenon.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：TS93

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 俞曉群;;藝術(shù)的魅力與民俗的活力——試析“女紅”的當(dāng)代文化價(jià)值[J];浙江社會(huì)科學(xué);2015年06期

2 蘭宇;;七夕乞巧與中國(guó)刺繡及民間女紅[J];美與時(shí)代(上);2015年01期

3 楊蕾;;明清江南女紅之審美風(fēng)格探微[J];宿州學(xué)院學(xué)報(bào);2011年07期

4 紀(jì)向宏;;論中國(guó)民間女紅文化的審美內(nèi)涵[J];美術(shù);2009年04期

5 潘健華;;女紅:中國(guó)女性的閨房藝術(shù)[J];戲劇藝術(shù);2008年06期

6 葉瑞平;;現(xiàn)代藝術(shù)設(shè)計(jì)中的民藝符號(hào)[J];包裝工程;2007年12期

7 葉繼紅;從蘇繡看傳統(tǒng)技藝的文化再生[J];裝飾;2005年06期

8 胡勝;民族民間刺繡的美學(xué)價(jià)值[J];皖西學(xué)院學(xué)報(bào);2003年06期

9 田茂軍;苗族女紅文化的內(nèi)涵與特色[J];吉首大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2003年01期

10 陳岸瑛;“人類(lèi)口傳及無(wú)形遺產(chǎn)”——保護(hù)什么? 如何保護(hù)?[J];裝飾;2003年03期

相關(guān)碩士學(xué)位論文 前8條

1 白姝;“墊在腳下的歷史”[D];重慶大學(xué);2014年

2 楊玉琪;贛南客家女紅藝術(shù)與女性生活[D];贛南師范學(xué)院;2013年

3 李海影;中國(guó)民間女紅圖飾及審美研究[D];淮北師范大學(xué);2011年

4 蔡杰;研究女紅文化與室內(nèi)陳設(shè)藝術(shù)的契合[D];南昌大學(xué);2009年

5 張小娟;造物生人之初意[D];北京服裝學(xué)院;2008年

6 許燕德;中國(guó)傳統(tǒng)木版年畫(huà)的意象性及其傳承研究[D];江南大學(xué);2009年

7 張彥輝;論民間“女紅”藝術(shù)中的女兒情致[D];河北大學(xué);2007年

8 宮楚涵;試論民間繡荷包的審美情感[D];中國(guó)藝術(shù)研究院;2007年

，

本文編號(hào)：1799376