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1939年12月至1940年2月,庞薰琹在担任中央博物院西南少数民族艺术传统研究工作期间,赴贵州黔中南苗族聚落美术考察,在贵阳、花溪、安顺等地跑遍80多个苗族、仲家族村寨,收集到大量珍贵服饰、工艺、民谣民歌等民俗资料。他1940年回到博物院后,随迁四川,于南溪李庄整理贵州考察资料并绘制成作品。1941年搬到成都城外华西后坝,翌年居沙坪坝,至1946年回到上海之前,以同样的手法陆续创作出大量表现贵州苗族生活的作品。~([1])因此,笔者分别从贵阳挑花与安顺花衣、画像中的背篓与竹篮以及跳花和笙舞等三个方面具体谈一下其作品中的区域性形象。
From December 1939 to February 1940, Pang Xun 琹 visited the Art Museum of Central South Miao ethnic minorities during the traditional art research work in Guizhou Guizhou Zhongnan Miao settlement Art Expedition, in Guiyang, Huaxi, Anshun and other places over more than 80 Miao and Zhong family Village, collected a large number of precious costumes, crafts, folk songs and other folk materials. After returning to the museum in 1940, he relocated to Sichuan and collated information on Guizhou inspecions at Li Zhuang in Nanxi to draw his works. After moving to Huaxihouba in Chengdu in 1941 and Gapingba in the following year, before returning to Shanghai in 1946, a large number of works of Miao ethnic life in Guizhou were created in the same way. Therefore, I talk about the regional image of her works from the three aspects of the basket and bamboo baskets in the portraits of Guiyang, Anshun flower garments, the portraits of flowers in the portraits and the flower dance and the shengwu dance respectively.