摘要
苗族先民们在本能的收集中发现了美 ,并且把它升华成一种既简单又明了的复合图形 ,用在与自己日常生活息息相关的物品上 ,这与现代装饰有相同之处。它们不被具体的联系所限制 ,而是以整体象征为旨 ,使欣赏者在画面所提供的总体象征中获得内心感应。
Ancestors of Miao nationality found beauties in the instinct collection, and sublimated the beauties into a type of compound designs, which is simple and clear, and used the designs in articles relative closely with daily lives. In some meanings, the designs are the same as modern adornments: they are not limited by concrete relations, but take whole symbols as purports, make readers get inner responses through the appreciating the compound symbols. [
出处
《中央民族大学学报(哲学社会科学版)》
CSSCI
北大核心
2002年第2期130-132,共3页
Journal of Minzu University of China(Philosophy and Social Sciences Edition)
关键词
苗族
民间工艺
现代装饰
整体象征
题材
文化
Miao nationality, folk craftsmanship, modern, decorative perception