白马藏族傩舞传统装饰图形设计构成规律解析

An Interpretation of the Formative Law of Traditional Decorative Graphic Design of Baima Tibetan Nuo Dance

白马藏族傩舞文化历史悠久,源远流长,至今依然在题材内容、宗教仪式、表演形式、装饰造型、文化含义等方面保留着其原生态的面貌。其中傩舞装饰图形作为白马藏族民俗文化的主要视觉载体,具有鲜明的设计构成规律,是我国少数民族传统图形的重要组成部分,是白马人民在长期生产和生活中创造并流传的具有本民族特色的装饰艺术形式,是展现白马藏族人民思想情感、精神风貌的视觉艺术形态,是在长期的历史发展过程中沉淀和累积下来的传统造型艺术宝库。白马藏族傩舞装饰图形的设计构成形式及其文化寓意,全方位、多角度、准确、形象、生动地诠释了其民族的核心理念。

Baima Tibetan Dance Nuo culture has a long history. With its subject matters, rituals, performances, decorative style, culture and other aspects, it retains in its original ecological landscape. The exorcism dance decorative pattern as Baima Tibetan folk culture of the primary visual carrier is an important part of the traditional pattern of ethnic minorities. People create and spread a white horse in the long- term production and life in the form of decorative arts with national characteristics. It is to show Baima Tibetan thoughts and feelings with its visual artistic forms precipitated and accumulated in the long process of historical development of the traditional style of art treasures. Baima Tibetan exorcism dance decorative pattern design consists of forms with its cultural meanings.