20世纪的中国风俗文化研究

２０世纪是中国风俗文化融入世界的历史，是中西风俗文化交融的研究高潮时期。在这百年的风雨中，中国风俗文化的研究经历了高峰、低谷。

越民族与中国风俗文化

越民族作为一个古代民族,经历史沧桑,在春秋战国时与夏、商、周、楚诸民族,以及部分蛮、夷、戎、狄融合而形成为华夏民族,最后于西汉时发展,转化为汉民族,而消失于历史舞台,但是,其风俗文化,却转化嬗变为中国风俗文化的一部分,形成汉族风俗文化中别具一格的江浙风俗文化.早在夏、商、周三代之时,分布在从江苏、浙江到两广乃至云贵高原这一弧形地带的百越集团,因社会发展的不平衡,长期以来处于“百越杂处,各有种姓”的状态.但是,由于历史的机遇和地理位置的优越,

龙凤崇拜及其他——中国风俗文化之浅谈

中国是个文明古国,以精神文明著称于世,被誉为“礼仪之邦”。中国又是个大国,地域辽阔,民族众多,文化习俗千差万别。经过漫长的文化交流、融会和发展而形成的比较通行的风俗习惯,成为中华民族精神的一个组成部分,世代相传。龙凤崇拜中国被称为“龙的故乡”,中国人被称为“龙的传人”,外国人以“东方巨龙”比喻中国。在中国,龙是人人皆知的神物,象征吉祥、幸福、精神、力量。龙对中国人和中国社会的影响非常深广。龙到底是什么?

中国风俗文化与地域视野

社会风俗是一个文化现象,是客观物质生活的精神反映。各国风俗文化的产生和发展,都与这一个国家民族所处的地理环境及其物质生产方式、行为方式、生活方式密不可分。因此要了解、研究一个民族风俗文化的兴衰,必须要把握这个民族的风俗文化得以繁衍的特殊地理环境和人文背景。一、历史的回顾我国地域辽阔,地形复杂,有巍峨的山脉,起伏的丘陵,广阔的平原,漫长的海岸。"桔生淮南则为桔,枯生淮北则为枳。"地理环境的差异,社会经济发展的不平衡,使生活在不同类型自然环境中的人的生活方式、行为方式、语言、性格、气质。

Study on the Folk Costume Symbolization in Waterside Villages of Southern Yangtze in China

The folk costume in waterside villages of Southern Yangtze in China was notonly daily consumer goods, but also a symbol system of folk-custom culture. This symbol system was directly conveyed by a series medley shape signs, many-faceted color signs and decorated craft signs of pleated skirt. Its origination, accumulation, continual process and development were greatly associated with the life style and paddy culture of waterside villages, such as the folk religion, social life, artistic philosophy, regional culture, the landform of waterside villages and the humanity environment. So the folk costume was the significant sign of practical function and also the significative sign of folk traditional culture, both of which composed the costume cultural symbol system of waterside villages of Southern Yangtze called ＂ integration of aesthetic and practical function＂.

Collar of Lady's Wear in Qing Dynasty

The research is started with a query that whether the width of collar in Qing Dynasty is too small. The paper bases on the statistics which come from the collection of the Costume Museum of Denghua University. compares the results with the national standard specification, then analyzes the structure and shape of collars in Qing Dynasty, and tells the relationship between collar and the garment. Furthermore, the paper discusses the function of lady＇s collar in Qing Dynasty and gives a suggestion that collar being an indicator to distinguish women＇s wear from children＇s wear.

我的民俗风情绘画

现今新时代的发展导致文化艺术的多元化发展,少数民族区域文化的不同必然影响着整体文化的多元化发展。现今集中出现了以表现中国民间风俗文化为绘画题材的油画作品,以西方造型体系为主的油画创作的方法,结合中国传统民间风俗艺术美学理念,开创了一条具有中国特色的创作之路,通过研究区域民俗风气绘画,探索期艺术语言与精神内涵,分析了对民俗风情油画发展进行思考。