临夏八坊十三巷砖雕纹样的符号学解读
发布时间：2022-08-09 14:54
符号学家卡希尔认为,人是符号的动物,人的本质在于他能利用符号去创造文化。符号是人类认识事物的媒介,符号又是表达思想情感的物质手段,人类生活中的各个方面诸如:实践经验、情感,以及文化、宗教的交流、发展、延续都要依靠符号,只有依靠符号的作用人类才能实现知识的传递和相互的交往。临夏砖雕作为临夏民俗文化中一朵璀璨的瑰宝,已引起了诸多学者从不同角度对其的关注,例如对其介绍性的研究、美学艺术的研究、加工工艺的研究、实施保护措施的研究、传承人的研究、发展史的研究等。临夏砖雕以一幅幅精湛生动的砖雕纹样传达着丰富的文化内涵。目前,对其所传达的文化内涵的研究少有,而且只涉及了东公馆、红园和清真寺砖雕纹样。临夏八坊十三巷也是临夏砖雕比较聚集的地方,不仅聚集了临夏砖雕主要的纹样类型,而且,在十三巷翻修之后,还出现了新的砖雕纹样类型。在十三巷那样别具特色的人文环境下,十三巷砖雕纹样同时也呈现出自己的特点。因此,本文以临夏八坊十三巷砖雕纹样为研究对象,运用皮尔士符号学理论分析其再现体与对象关系的基础上将临夏八坊十三巷砖雕纹样分为像似符、指示符与象征符,接着通过分析每一类砖雕纹样所具有的不同功能,旨在总结出不同类别...
【文章页数】：85 页
【学位级别】：硕士
【文章目录】：
Abstract
摘要
List of Abbriavation
Chapter One Introduction
1.1Background of the Study
1.2 Objective of the Study
1.3 Significance of the Study
1.4 Structure of the Thesis
Chapter Two Literature Review
2.1 Definition and Classification of Folk Custom
2.2 Semiotic Studies on Folk Signs
2.2.1 Semiotic Studies on Folk Signs Abroad
2.2.2 Semiotic Studies on Folk Signs at Home
2.3 Studies on Brick Carving Art from the Perspective of Semiotics
2.4 Studies on Linxia Brick Carving Art
2.4.1 An Overview of Studies on Linxia Brick Carving Art
2.4.2 Studies on the Symbolic Meanings of the Patterns of Brick Carvings in Linxia
2.5 A Brief Summary of Literature Review
Chapter Three Theoretical Framework
3.1 Foundation of Peirce’s Semiotic Thought
3.2 Peirce’s Trinity
3.3 Peirce’s Category of Signs
3.3.1 Icon
3.3.2 Index
3.3.3 Symbol
3.4 Semiosis in Peircean Semiotics
Chapter Four Research Design
4.1 Research Questions
4.2 Research Methods
4.3 Data Collection
4.4 Data Analysis
4.5 Research Procedures
Chapter Five Results and Discussion
5.1 The Symbolic Types of the Patterns of Brick Carvings of EDTS in Linxia
5.1.1 The Iconic Patterns
5.1.2 The Indicative Patterns
5.1.3 The Symbolic Patterns
5.1.3.1Homophonic Symbolic Patterns
5.1.3.2 Metaphorical Symbolic Patterns
5.1.3.3 The Geometrical Symbolic Patterns
5.1.3.4 The Plant Symbolic Patterns
5.1.3.5 The Animal Symbolic Patterns
5.1.3.6 The Mythological Symbolic Patterns
5.1.4 Relativity of the Category of the Patterns of Brick Carvings of EDTS in Linxia
5.2 Symbolic Functions of the Patterns of Brick Carvings of EDTS in Linxia
5.2.1 Functions of the Iconic Patterns
5.2.2 Functions of the Indicative Patterns
5.2.3 Functions of the Symbolic Patterns
5.3 Cultural Connotations of the Patterns of Brick Carvings of EDTS in Linxia
5.3.1 Main Idea and Emotion Embodied in the Iconic Patterns
5.3.2 Historical Background of the Appearance of Bogu Artifact Indicative Patterns
5.3.3 The Cultural Connotations of the Symbolic Patterns
5.3.3.1 The Geometrical Symbolic Patterns
5.3.3.2 The Plant Symbolic Patterns
5.3.3.3 The Animal Symbolic Patterns
5.3.3.4 The Mythological Symbolic Patterns
5.4 Summary
Chapter Six Conclusion
6.1 Major Findings
6.2 Limitations
6.3 Further Suggestions
References
Appendix An Outline for the Interview on the Interpretation of Cultural Connotations of Brick CarvingPatterns of EDTS in Linxia
Acknowledgments
【参考文献】：
期刊论文
[1]临夏砖雕纹样归类及其文化内涵探究——以临夏红园砖雕为例[J]. 李佳乐,张萍,陈华. 福建建筑. 2017(01)
[2]甘肃临夏砖雕文物保护数字化技术研究[J]. 郑刚. 中国建材科技. 2016(01)
[3]符号学视域下的汉字婚姻民俗解析[J]. 那贞婷. 佳木斯大学社会科学学报. 2015(05)
[4]回族砖雕中凤凰图案的宗教意蕴——基于临夏市伊斯兰教拱北建筑的象征人类学解读[J]. 周传斌,马文奎. 北方民族大学学报(哲学社会科学版). 2014(03)
[5]孕育于文化,生发于精神——临夏东公馆砖雕图案艺术辨析[J]. 吴晓玲,韩永林. 兰州文理学院学报(社会科学版). 2014(02)
[6]论王安石在甘肃民族地区的文教开发政策[J]. 杨红林. 科技信息. 2013(03)
[7]从符号学角度探析徽州三雕艺术[J]. 刘云,方学兵. 安徽理工大学学报(社会科学版). 2012(01)
[8]美轮美奂的回族砖雕艺术[J]. 高峰. 中国宗教. 2012(01)
[9]临夏东公馆砖雕艺术研究[J]. 王志军. 装饰. 2010(10)
[10]立体的画 无声的诗——别具特色的河州回族砖雕艺术[J]. 冯岩. 中国民族. 2010(09)
硕士论文
[1]从符号学的角度解析陕西剪纸艺术[D]. 陈计萍.西安工程大学 2017
[2]符号学视角下侗族服饰纹样的应用研究[D]. 王刘娟.广西师范大学 2017
[3]纪录片中春节文化视觉呈现的符号学解读[D]. 覃海叶.暨南大学 2017
[4]文化交流与民族交融：临夏市T拱北砖雕图案象征意义的研究[D]. 马文奎.兰州大学 2015
[5]临夏砖雕研究[D]. 王晓林.西北师范大学 2011
[6]临夏砖雕艺术[D]. 张伯智.西北师范大学 2005
本文编号：3672758
【文章页数】：85 页
【学位级别】：硕士
【文章目录】：
Abstract
摘要
List of Abbriavation
Chapter One Introduction
1.1Background of the Study
1.2 Objective of the Study
1.3 Significance of the Study
1.4 Structure of the Thesis
Chapter Two Literature Review
2.1 Definition and Classification of Folk Custom
2.2 Semiotic Studies on Folk Signs
2.2.1 Semiotic Studies on Folk Signs Abroad
2.2.2 Semiotic Studies on Folk Signs at Home
2.3 Studies on Brick Carving Art from the Perspective of Semiotics
2.4 Studies on Linxia Brick Carving Art
2.4.1 An Overview of Studies on Linxia Brick Carving Art
2.4.2 Studies on the Symbolic Meanings of the Patterns of Brick Carvings in Linxia
2.5 A Brief Summary of Literature Review
Chapter Three Theoretical Framework
3.1 Foundation of Peirce’s Semiotic Thought
3.2 Peirce’s Trinity
3.3 Peirce’s Category of Signs
3.3.1 Icon
3.3.2 Index
3.3.3 Symbol
3.4 Semiosis in Peircean Semiotics
Chapter Four Research Design
4.1 Research Questions
4.2 Research Methods
4.3 Data Collection
4.4 Data Analysis
4.5 Research Procedures
Chapter Five Results and Discussion
5.1 The Symbolic Types of the Patterns of Brick Carvings of EDTS in Linxia
5.1.1 The Iconic Patterns
5.1.2 The Indicative Patterns
5.1.3 The Symbolic Patterns
5.1.3.1Homophonic Symbolic Patterns
5.1.3.2 Metaphorical Symbolic Patterns
5.1.3.3 The Geometrical Symbolic Patterns
5.1.3.4 The Plant Symbolic Patterns
5.1.3.5 The Animal Symbolic Patterns
5.1.3.6 The Mythological Symbolic Patterns
5.1.4 Relativity of the Category of the Patterns of Brick Carvings of EDTS in Linxia
5.2 Symbolic Functions of the Patterns of Brick Carvings of EDTS in Linxia
5.2.1 Functions of the Iconic Patterns
5.2.2 Functions of the Indicative Patterns
5.2.3 Functions of the Symbolic Patterns
5.3 Cultural Connotations of the Patterns of Brick Carvings of EDTS in Linxia
5.3.1 Main Idea and Emotion Embodied in the Iconic Patterns
5.3.2 Historical Background of the Appearance of Bogu Artifact Indicative Patterns
5.3.3 The Cultural Connotations of the Symbolic Patterns
5.3.3.1 The Geometrical Symbolic Patterns
5.3.3.2 The Plant Symbolic Patterns
5.3.3.3 The Animal Symbolic Patterns
5.3.3.4 The Mythological Symbolic Patterns
5.4 Summary
Chapter Six Conclusion
6.1 Major Findings
6.2 Limitations
6.3 Further Suggestions
References
Appendix An Outline for the Interview on the Interpretation of Cultural Connotations of Brick CarvingPatterns of EDTS in Linxia
Acknowledgments
【参考文献】：
期刊论文
[1]临夏砖雕纹样归类及其文化内涵探究——以临夏红园砖雕为例[J]. 李佳乐,张萍,陈华. 福建建筑. 2017(01)
[2]甘肃临夏砖雕文物保护数字化技术研究[J]. 郑刚. 中国建材科技. 2016(01)
[3]符号学视域下的汉字婚姻民俗解析[J]. 那贞婷. 佳木斯大学社会科学学报. 2015(05)
[4]回族砖雕中凤凰图案的宗教意蕴——基于临夏市伊斯兰教拱北建筑的象征人类学解读[J]. 周传斌,马文奎. 北方民族大学学报(哲学社会科学版). 2014(03)
[5]孕育于文化,生发于精神——临夏东公馆砖雕图案艺术辨析[J]. 吴晓玲,韩永林. 兰州文理学院学报(社会科学版). 2014(02)
[6]论王安石在甘肃民族地区的文教开发政策[J]. 杨红林. 科技信息. 2013(03)
[7]从符号学角度探析徽州三雕艺术[J]. 刘云,方学兵. 安徽理工大学学报(社会科学版). 2012(01)
[8]美轮美奂的回族砖雕艺术[J]. 高峰. 中国宗教. 2012(01)
[9]临夏东公馆砖雕艺术研究[J]. 王志军. 装饰. 2010(10)
[10]立体的画 无声的诗——别具特色的河州回族砖雕艺术[J]. 冯岩. 中国民族. 2010(09)
硕士论文
[1]从符号学的角度解析陕西剪纸艺术[D]. 陈计萍.西安工程大学 2017
[2]符号学视角下侗族服饰纹样的应用研究[D]. 王刘娟.广西师范大学 2017
[3]纪录片中春节文化视觉呈现的符号学解读[D]. 覃海叶.暨南大学 2017
[4]文化交流与民族交融：临夏市T拱北砖雕图案象征意义的研究[D]. 马文奎.兰州大学 2015
[5]临夏砖雕研究[D]. 王晓林.西北师范大学 2011
[6]临夏砖雕艺术[D]. 张伯智.西北师范大学 2005
本文编号：3672758
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