凉山彝族色彩象征分析

【作者】 鲍冬丽；

【导师】 殷会利；

【作者基本信息】 中央民族大学 ， 中国少数民族艺术， 2012， 博士

【摘要】 色彩的象征与人类最初宇宙观的形成相伴而生。天是什么颜色,地是什么颜色,人类尚未存在的混沌世界又是什么颜色,答案皆存在于人类对天体的观察与想象。“道法自然”、“授命天时”是古人固定的思维定式。古人观察日月的运行规律制定历法,并使之与天体的方向及对应的事物相联系,同时以专门色彩做指定。彝族拥有大量的记述原始宇宙观点的史诗和神话,是一个具有丰富色彩情感和色彩想象力的民族。彝族用古老的宇宙观视角观察自然,并试图用他们所熟知的某种事物涵盖和简化纷杂的自然形态和色彩属性,赋予它们特定的象征意义,形成了鲜明的文化魅力。凉山是我国最大的彝族聚居区。其文化既接纳了中原及外围的影响,又保持了自身独立的民族特点,拥有纯稚、古朴的原始风貌。代表着原始宗教的毕摩文化大多集中在凉山彝族地区。笔者先后多次踏访了四川凉山彝族自治州具有代表性的昭觉、美姑、喜德、布托、普格等县镇地区,进行深入实地的田野考察和采访,亲身经历和体验当地民风、民情,收集了千余幅第一手图片和资料,全面而立体地架构了凉山彝族的色彩外貌与历史、文化纵向及横向的联系,更加丰满了对凉山彝族色彩象征的认识。论文的绪论部分在阐明研究凉山彝族色彩象征课题的意义之外,重点概述了凉山彝族地理对文化形成的影响。论文共分五个章节。第一章,作者以实地田野调查为依据,从服饰、漆器、毕摩宗教等几大部分,直观凉山彝族色彩的使用习俗及外貌特征,引申出凉山彝族色彩表征与文化象征意义的连脉。第二章,通过凉山彝族用色彩描述的史诗神话；丰富的色彩语义内容；图纹与色彩的关系；凉山彝族尚黑、尚火文化的寻缘等内容,深化了对凉山彝族色彩情感的理解,对凉山彝族色彩象征补充了更加全面性和客观性的理解。在第二章节里,作者独创性地列举出彝族先民们对宇宙初始色彩认知的多元化色彩图示,有“日月、天地说”、“青红气说”、“彝族四方色”、“中原五方色”和具有独立性和神秘性的毕摩色彩体系等,提出凉山彝族多种色彩体系并存的多元化特征。在美姑作者得到了俄也拉都毕摩亲笔手绘的色彩图示,对毕摩色彩象征观念的研究很有价值。论文中作者创建性地提出了火塘与三足乌的联想,推进了凉山彝族色彩象征思维的深度和广度。第三章,以凉山彝族传统宇宙观的角度形象地描述了凉山彝族色彩象征从二维、三维到四维形态的递进结构,探讨了人类对色彩从低级到高级层层进化的认知进步。涉及了宗教、习俗、天文历法、哲学观等较广泛的内容。探讨了凉山彝族与中原五行文化的连脉与渗透。中国古人对于色彩品质有着严格的界定标准,在第四章,作者分别从黑、白、赤、蓝、黄五种正色,以及凉山彝族具有典型性的色彩组合案例的选择,进入到凉山彝族色彩象征的具体分析,细化并确立了色彩与文化紧密相连的联想和象征。作者系统地锁定了黑、白组合的阴阳观和生死观；赤、黑组合与火炭、水火、日月、二至、祭祀的象征联系,以及赤、黑、黄所构成的天、地、人的和谐统一,进一步验证了“彝族四方色”的存在依据和象征表达。具有独到的见解。第五章,作者以中西方色彩研究所取得的成果验证科学与文化的融通,倡导以凉山彝族为代表的中国民族色彩象征文化的价值回归,强调对民族特色文化研究及保护的重要意义。总结了中西方色彩在诸多定义上殊路同归的一致性,包括Kay和Berlin的色彩认知程序；三原色；光与色等等。针对凉山彝族色彩象征研究的课题,2011年10月作者带领中央民族大学美术学院装潢设计系2009级的同学接受了凉山彝族扶助失依儿童的社会公益组织“索玛花基金会”的logo设计任务。通过此次设计实践进一步证实了色彩象征在设计中所发挥的重要作用。作为一名设计者只有真正深入了解民族文化的深层,才能更准确地定义本民族的真实情感和色彩文化象征的含义,从而实现更准确的设计定位的表达。更多还原

【Abstract】 The emergence of color symbolism accompanied the formation of man’s first view of the universe. What is the color of the sky? What is the color of the earth? What is the color of the chaotic world before the existence of mankind? All these answers depend on man’s observation and imagination of astronomical objects. The ancients had a fixed mindset, i.e., man should "obey the law of nature" and "accept the mandate of heaven". Based on the operation law of the sun and the moon they had observed, the ancients developed the calendar which was related to the directions of astronomical objects and their corresponding objects, and designated them with specific colors.The Yi people, an ethnic group with rich color feelings and imagination, had an abundance of epics and myths about primitive views of the universe. They observed the nature from these ancient perspectives and tried to cover and simplify the variety of nature forms and color attributes with the things they were familiar with. By rendering them specific symbolic meanings, the Yi people created their unique culture.Liangshan Yi Autonomous Prefecture of Sichuan Province hosts the largest group of Yi people in China. The culture there demonstrates the original traits of purity, innocence and simplicity with both the influence of Central Plains and neighborhoods and the maintenance of independent ethnic characteristics. Bimo culture, a representative of primitive religion, mainly originated there. The author made several trips to counties and townships in Liangshan Yi Autonomous Prefecture, such as Zhaojue, Meigu, Xide, Butuo and Puge, to experience the local ethnic customs and feelings by means of fieldwork and interviews. The thousand first-hand pictures and information collected during those trips help construct a comprehensive and three-dimensional picture of the vertical and horizontal links between Yi’s color appearances and their history and culture, and enrich the knowledge of Yi’s color symbolism.Apart from clarifying the meanings of the study on Yi’s color symbolism, the introduction part of this thesis focuses on the influence of the geography of Liangshan on the Yi culture.The thesis consists of five chapters. Based on fieldwork, Chapter1observes Yi’s customs of color uses and its appearance features in terms of costume, lacquerware and Bimo Religion, and then brings about the links between Yi’s color representation and cultural symbolism.Chapter2deepens the understanding of Yi’s color feelings and complements a comprehensive and objective understanding of Yi’s color representation in terms of epics and myths described in colors, rich color contexts, the relationship between pattern and color, and the origin of black-and fire-worship culture. Also in this chapter, the author presents with originality diversified color icons of the Yi ancestors’knowledge about the first color of the universe, including "the color of the sun, the moon, the heaven and the earth","the green and red air","the color of Yi’s four regions","the color of the five regions in Central Plains", as well as the independent and mysterious color system of Bimo, and then suggests a coexistence of diversified color systems. In Meigu, the author got a color icon hand-painted by Eryeladu Bimo, which is useful to the study of Bimo’s color symbolism. The link between fireplace and three-foot bird, first put forward by the author, deepens and widens the study of Yi’s color symbolism.Chapter3describes the progressive structure of Yi’s color symbolism from two-dimension, three-dimension to four-dimension in their traditional perspectives of the universe, and examines the progress of the evolving man’s knowledge about color. By involving religion, customs, astrology, calendar and philosophy, it examines the link and integration between the Yi people in Liangshan and the "Five-Element Culture" in Central Plains.Ancient Chinese had a strict definition about the quality of color. In Chapter4, the author makes a specific analysis of Yi’s color representation based on black, white, red, blue and yellow colors and selection of typical cases of Yi’s color combination, and refines and establishes the imagination and symbolism of the close link between color and culture. By systematically defining the concepts of "Yin and Yan" and "Life and Death" with the combination of black and white colors, the symbolic relationship between the combination of red and black colors and fire and carbon, water and fire, the sun and the moon, winter solstice and summer solstice and worship, as well as the harmonious unity between the heaven, the earth and the people formed by red, black, and yellow colors, the author verified the existence of "the color of Yi’s four regions "and representation of color symbolism, which is of originality.In Chapter5, by verifying the integration between science and culture with the literature on color both at home and abroad, the author suggests a return of value on color symbolism of Chinese ethnic groups, represented by the Yi people in Liangshan, and highlights the importance of research and maintenance of unique ethic cultures. It concludes that there is an uniformity in the various definitions of color at home and abroad, including Kay and Berlin’s program of color perception, three primary colors, light and color, etc.Aimed at the research program of Yi’s color symbolism, the author, with the help of the2009’s students from the Department of Decorative Design in the College of Fine Arts, Central Minzhu University, accepted the task of logo design of Suomahua Foundation, a NGO dedicated to the Yi orphans in Liangshan. The practice further confirms that color symbolism plays an important role in design. Being designers, we must enter into the depth of ethnic cultures, and define accurately the true feelings of ethic groups and the meanings of color symbolism. In doing so, we can realize an accurate expression of design orientation. KEY WORDS Liangshan Yi, color symbolism, color combination更多还原