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壮族设计艺术的研究无论是过去还是将来都是一个极富诱惑力的课题。我和我的学术团队之所以踏进这个领域,除了个人爱好之外,更多的却是在做学问过程中被那些五色斑斓的元素、深奥杳远的思想及智慧所吸引。每当我们由衷地赞叹铜鼓身上纹饰多变的构形和线条的韵律时,每当我们翘首仰望左右江流域岩壁上那些繁美、神妙的图形时,我们不能不为之震撼而产生心灵上的共鸣。我们想探讨的是壮族设计艺术起源、发展及演变的基本线索,以及壮族设计艺术所体现出来的各种文化内涵。根据费孝通先生“中华民族多元一体格局”的
The study of Zhuang art design is a very attractive subject both in the past and in the future. The reason why I and my academic team have stepped into this field is that besides personal interests, I am more attracted by the profound elements and profound thoughts and wisdom in the process of learning. Whenever we sincerely praised the rhythmic changes of texture and lines in the bronze drums, whenever we look forward to the beautiful and mysterious figures on the rock walls of the left and right rivers, we can not but generate the spiritual resonance. What we want to explore is the basic clues to the origins, development and evolution of the Zhuang art of design, as well as the various cultural connotations embodied in the Zhuang art of design. According to Mr. Fei Xiaotong “pluralistic pattern of the Chinese nation ”