1、 The cultural connotation of Tujia folk craft Abstract: Folk craft culture is an integral part of national culture, is a characteristic manifestation of national survival mode, it contains rich spiritual culture and material culture connotation.This paper enumerates the typical folk craft styles of
2、Tujia nationality, such as Maogus, clothing, Xilankapp and residential environment, analyzes them from the perspective of culture, and reveals the cultural projection hidden behind the objects. Key words: Tujia; Folk craft; The national culture Folk craft is a cultural phenomenon closely related to
3、peoples basic necessities of life. It mainly manifests itself in peoples living space through material forms. But it involves peoples psychology, emotion, way of thinking, national character and other aspects, and forms a craft culture with universal significance. Wuling Mountain area inhabited by T
4、ujia people is located in the eastern slope of Yunnan-Guizhou Plateau at the junction of Hunan, Hubei, Chongqing and Guizhou.As a carrier of national culture, folk craft contains the national cultural psychology in a unique way and accumulates the cultural accumulation layer of different times.Throu
5、gh the analysis of the typical Tujia folk craft, this paper tries to see the cultural projection hidden behind the objects. . the totem remains of Maugus MAO Gus is the oldest comprehensive performing art of Tujia nationality. It integrates sacrifice, dance and dramatic performance into one. It is l
6、isted as one of the forms of exorcism in Western Hunan. MAO Gus, which translates loosely in Chinese as ancient people covered in hair, was performed by a group of adult males.As the most prominent external feature of Maogus, the sweater worn by performers is generally composed of 5 pieces of combin
7、ed thatch or straw. A few sweaters in villages adopt brown slices or leaves.The sweater is worn by wrapping the pieces of grass around the waist, chest and arms, one of which is made into a hood to cover the head and face, so that the audience will not recognize the actor during the performance.On t
8、he top end of the hood, there are 3-5 pointed and conical horns, which represent human beings with odd number of horns and cattle and animals with even number of horns.Each of the actors in Maogus must be equipped with a 1-meter-long thick wooden stick, which is wound with straw rope on the top, dye
9、d with red liquid on the top, and tied to the lower abdomen in imitation of male genitalia, known as God stick or Grass ancestor. The appearance of the Maulgus, usually led by a Puka, followed by a group of Wa-bays (children and grandchildren), rushed out of the woods on the edge of the stockade, sw
10、inging their magic sticks from side to side, shaking their straw clothes with a rustling sound.The old Maugus performer had to strip off all his body, exposing his strong body between the straw clothes during the performance, showing a kind of virile beauty.The performance MAO Gus must first worship
11、 the ancestors first, then sacrifice the goddess meishan, speak ugly words, to male entertainment god.Tima said that Mei Chang had never been married and was longing for a relationship between men and women, so she did not speak disgraceful words.Maugus is based on magic wand For props, perform driv
12、ing meat (hunting), fishing, snatching wife, baba ha, doing spring, etc., especially swinging torch. Basic movements include showing male, swinging, beating dew, stretching belly and sending hip, etc., which are obviously similar to sexual intercourse.At the climax, the little Morgus can touch the b
13、ody of a bystander with a magic stick, and the women greet him with a smile. The combination of catharsis and dance is shown in the rock paintings of Kang Lao Er Gou and Yin Shan, which are just the epitome of the primitive society solidified on the stone.The performance of MAO Gus and the use of go
14、d stick, with a living image of the tujia ancestors of male genitalia show off and worship, as well as to The desire for reproduction of the species has highlighted the totem dance that people have stepped into the patriarchal clan society. The horn on the head of the Maugus is a kind of pointy, thr
15、ee-dimensional headgear, which can be found in some ethnic minorities of the same language as the Tujia people.For example, the sharp tapered headwear of the Lisu ethnic group in Nujiang, Yunnan;Men of The Yi nationality in Liangshan of Sichuan province tie a slender tapered piece on the right front
16、 of Baotou. The yi people in Weining County, Guizhou province, use a headscarf to wrap their heads tightly into a sharp cone during the performance of the original drama pinch Tai Ji. The performance of Maogus was strictly forbidden to outsiders, especially han Chinese, to peep into or enter.While w
17、e cant exactly decipher the code for this tapered headdress, its symbolic and exclusivity is obvious. Maogus only exists among the descendants of Baman, the indigenous people in the Youshui River basin in western Hunan, which indicates that Baman takes this unique grass-lined horn as its mark and di
18、fferentiates itself from other tribes later integrated into the Tujia family.Although the tujia ethnic community formed by different tribes of different origins after the five dynasties, the Tujia people in northwestern Hunan still reproduce their special symbols in the annual waving activities.Just
19、 as the descendants of Linjun of the Tujia family in western Hubei have a sentimental attachment to the white tiger, it is hard to erase the spirits of their ancestors and it has long been dissolved in the blood of their descendants. .costume - the special symbol of national culture As an essential
20、material condition for human survival, clothing is the closest factor for people and things in the living environment. As a special symbol of national culture, costume is closely related to a nations cultural psychology. There is little regional difference in tujia clothing. As early as the Qing Dyn
21、asty, before the implementation of the return to homeland, men and womens clothing styles were basically the same.Qing Qianlong yongshun Fu Records: Chieftain, men and womens clothing is not divided, are the same.Head wrapped embroidered handkerchief, dress embroidery edge. There are many rings roun
22、d the ears, and heavy and heavy under the shoulders.At that time, both men and women wore collar-less, open-necked tunics with short, large sleeves;Below the eight skirt, the womans skirt is over the knee, the mans skirt is short but knee.After the reform, the Manchu and Han culture permeated a lot,
23、 and the ruler ordered that clothes should be divided into men and women. Tujia adult male head wrapped in green silk or green cloth pa, showing the road. On top of the garment was a double-breasted cloth with 7-11 pairs of buckles.The sleeves are small and long, and the hem, cuff and collar are tri
24、mmed with white cloth.The old man usually wears a full coat with right front and a belt, and the older coat keeps the characteristics of the pipa front, with brass buttons and plums and cloud hooks on the edge of the coat.Trousers do not divide youth, prime and old age, are blue, blue, set with whit
25、e cloth waistband, trouser legs short and loose. Shoes are usually made of blue cloth with white soles, young adults wear a blue cloth to bind their feet in winter, and old people wear cloth socks. There are several kinds of womens blouses, such as cloud shoulder, left cardigan, right cardigan, with
26、out collar or low collar. The front, hem and cuff are all set with a wide edge.Married women also like to wear white cloth jacket blue vest, commonly known as magpie white.Black trousers with plain lace at the bottom.Unmarried girls do not wear a veil, but have long braids on their heads, and wear r
27、ed, blue and green clothes, made of red and blue wool.A colorful and gorgeous apron was set over the chest.When dressing up, earrings melon seeds and lanterns silver ear rings, silver bracelet buttons on the hand, the front of the dress is tied with an embroidered handkerchief, tooth money and butto
28、n flower on the chest, tied with a silver chain, silver bells, silver beads a string, jingling when walking.The lower part of the knee and trouser legs stick plum or pick up flowers, feet wear green cloth face embroidered shoes. Childrens clothes do not pay attention to, mainly reflected in the hat,
29、 according to different seasons change hat shape. In spring and autumn, they wear purple and gold crowns; in summer, they wear winter melon rings and toad hats; in winter, they wear dog head caps and fishtail hats. The hats are embroidered with auspicious patterns such as magpie plums and long life
30、and wealth.Wear a silver collar around your neck, a hundred locks, a pillory collar on your chest, and Poop shoes and tiger shoes on your feet.Children under one year of age like to swaddle with tujia brocade cover skirt with Tai Tai Hua pattern.In the remote mountainous area, can find vaguely obliq
31、ue collar straight under the pick up flower childrens wear, the style of primitive simplicity and elegance. About the origin of dress, all home definition is different, sum up for the nature of human body protection and social attributes of the decoration concept of two major types. The ecological e
32、nvironment and livelihood have a direct impact on clothing. Wuling Mountain Mr area inhabited by Tujia people is between 400 meters and 2,400 meters above sea level. People in the mountains live by growing dry grain and hunting. They generally like to wrap their heads in black cloth and wear cotton
33、and linen jackets and trousers.It is a common occurrence here that ravines cross and streams. so People like to wear straw shoes, trouser legs short and loose.They often wear leggings to work and walk in thorny, insect-infested hills.The identity of clothing It is one of its important features. Ther
34、e are records in ancient books about the ancient peoples in wuling mountains, such as Weipu and Wuman, which are characterized by the shape and color of their costumes. Nanman Biography, the book of the Later Han Dynasty, records the descendants of Wulingman in the Qin and Han Dynasties, who woven w
35、ood leather, dyed it with grass, dressed in five colors, and had tails. Festivals, rituals, witchcraft and religions are the media for people to communicate with each other and with god, providing a world for full display of costumes. Through this medium, the cultural connotation of clothing has bee
36、n incisively and vividly revealed.In The Tujia area of Western Hunan, exorcism drama called living fossil is still popular, which is developed on the basis of exorcism altar sacrifice.Performers change their costumes and masks to play roles of different identities, ages and genders. Its ground view,
37、 ritual and gods can all be found in the nine Songs of Chu.The robe worn by witches and wizards has been proved to be closely related to the strange clothes of Qu Yuans time. The most prominent external feature of Maogus is to produce grass for service.Performers wrap themselves from head to toe in
38、a sweater made of straw or straw, Maugus Sweater is obviously a record of the young people wrapped in straw.Hunan native in han dynasty has a part of the northwest southward migration, integration with other nationalities, today the dong clan of xiangxi south there is an ancient tradition of ethnic
39、group, coat with a small piece of embroidery patchwork, skirt with strips of cloth for shade type, surrounded on the waist, with the MAO goose palm tree and grass piece of clothing is very similar.Maogus straw clothing is a reflection of the primitive clothing of the ancestors of Tujia people, which
40、 proves that tujia people experienced a primitive age when they wrapped themselves in straw and drank the blood of mushroom. .West Karp and cultural accumulation Tujia brocade, also known as Xi LAN Kap, is unique among Chinese folk crafts for its exquisite colors and patterns.From the perspective of
41、 time, each major historical period has left its own traces in it, revealing different levels of cultural accumulation. Before the five dynasties, the origin of Tujia brocade was still in the primitive hunting and fishing era.At this time, the board-wood shield man who escaped into Wuxi was already
42、good at weaving Zongbu, and the aboriginal people in the northwest of Xiang, after the ancient people in the stone cave of The Shang Dynasty in Yongshun County used the pottery spinning wheel, they also woven colorful ge hemp fabric!This made it possible for the motif images worshipped by the ancest
43、ors to be woven in the colors of the Tujia people.These patterns are represented by complete completion and complete completion.Because of their early generation, they have kept the tujia names intact. The Tujia word for nest bi means small snake, and the pattern has a strong dragon element.The nest
44、 bi pattern is a small ring-like snake, which is arranged laterally in two consecutive ways. The small snake connected head to tail has obvious characteristics of self ring, which is quite similar to the jade dragon shape of Hongshan culture, and is similar to the brown ground Mosaic pattern unearth
45、ed from zuojiatang Warring States Chu tomb in Changsha.Because it contains the dragon in the snake, the dragon meaning snake shape, the snake and the dragon are one, so often with servant bi (small dragon) on behalf of the name.It is the reflection of the ancient dragon totem of the ancestors on the
46、 Tujia brocade. The xibi pattern translates into small beasts or small beasts in Chinese. The composition is made up of four continuous rhomboids with each rhomboid square filled with a small animal that has been flatted. The layout comes from the colorful silk fabrics that were used in the capital
47、of Chu State during the Warring States Period.In 1982, hubei jiangling mashan a batch of the warring states period unearthed from no. 1 age hunan silk goods, among them a few parallel flower sash, and today the organizational structure of the traditional tujia brocade has no much difference, especia
48、lly a ling hexagon tattooed taeniasis, from the overall layout of kind of the bone into units are with tujia brocade real bi lines is very close, the two different main is hexagon subject pattern of the ancient silk sash, in the real finish lines have been replaced by the little beast.More than two
49、thousand years later, the two fabrics are so similar that they can be seen from the same matrix pattern after the differentiation, not too far away. At the end of the Tang Dynasty, Peng from Jiangxi occupied Wuxi. After the battle of Xizhou, he set up a copper pillar in the fifth year of The Jin Dyn
50、asty.Tujia people ended the long war and turmoil of hunting and fishing and settled down to engage in slash-and-burn agricultural production.The representative pattern that reflects this period has niche flower. Shrine flower adopts the two-square continuous composition, the pattern is broad and str
