發(fā)布時(shí)間：2018-05-08 11:57

  本文選題：天琴 + 傳統(tǒng)工藝　； 參考：《云南農(nóng)業(yè)大學(xué)》2013年碩士論文

【摘要】：天琴，壯族彈撥樂(lè)器，也叫“叮、鼎”，有著悠久的歷史和獨(dú)特的外形。在龍州壯族人民的生產(chǎn)生活中承載著豐富的文化內(nèi)涵，是壯族人民對(duì)“天”的信仰和凝聚信念的精神依歸。 天琴傳統(tǒng)工藝凝聚著壯族人民的純樸智慧和深厚的文化底蘊(yùn)，從萬(wàn)物有靈的觀念到祈福禳災(zāi)的信仰，讓這個(gè)古老的法器代代相傳。隨著“天琴女子彈唱組合”知名度的漸漸提升，天琴傳統(tǒng)工藝與社會(huì)角色的變遷賦予了天琴新的生存語(yǔ)境，同時(shí)，現(xiàn)實(shí)的鄉(xiāng)土社會(huì)中，天琴文化生存的土壤受到破壞，在現(xiàn)代化文明的沖擊下，天琴傳統(tǒng)工藝缺乏年輕一代的繼承人，新老無(wú)法正常更替，，這一傳統(tǒng)工藝已岌岌可危。本文采用文獻(xiàn)法與科技人類學(xué)調(diào)查法，先后三次到田野點(diǎn)調(diào)查，對(duì)鄉(xiāng)土社會(huì)及都市社會(huì)中的天琴制作人、當(dāng)?shù)卮迕瘛⑺囆g(shù)人員及政府工作人員分別進(jìn)行深入訪談，對(duì)天琴傳統(tǒng)工藝的流程進(jìn)行參與式研究。論述了龍州天琴傳統(tǒng)工藝中文獻(xiàn)記載與民間傳說(shuō)的歷史來(lái)源；從制作選材到制作成型的全部過(guò)程；法器、樂(lè)器、禮器三重身份的變遷價(jià)值；在都市社會(huì)與鄉(xiāng)土社會(huì)中不同的傳承方式以及它們背后蘊(yùn)含的傳統(tǒng)文化�；�于上述研究，提出應(yīng)在政府的指導(dǎo)下，培養(yǎng)民族對(duì)傳統(tǒng)文化的自豪感，立足于本民族文化用長(zhǎng)遠(yuǎn)的眼光對(duì)天琴傳統(tǒng)工藝進(jìn)行保護(hù)與發(fā)展。本研究旨在從科技史角度填補(bǔ)天琴傳統(tǒng)工藝的歷史空白，豐富天琴文化的內(nèi)容，對(duì)申請(qǐng)國(guó)家非物質(zhì)文化遺產(chǎn)、弘揚(yáng)我國(guó)傳統(tǒng)文化發(fā)揮一定作用。
[Abstract]:Tianqin, a plucked musical instrument of Zhuang nationality, also called Ding, Ding, has a long history and unique shape. It bears rich cultural connotations in the production and life of the Zhuang people in Longzhou, and is the spirit of the belief and cohesion of the Zhuang people in "Heaven". The traditional craft of the Tianqin embodies the simple wisdom and profound cultural information of the Zhuang people, from the concept of animism to the belief of praying for disaster, so that this ancient instrument can be passed down from generation to generation. With the increasing popularity of the Tianchin Women's singing Group, the traditional arts and crafts of Tianqin and the changes of social roles have given Tianqin a new survival context. At the same time, in the real local society, the soil for the existence of Tianqin culture has been destroyed. Under the impact of modern civilization, the traditional craft of Tianqin lacks the heirs of the younger generation, and the old and the new can not be replaced normally. This traditional craft is already in jeopardy. This article adopts the literature method and the science and technology anthropology investigation method, successively goes to the field spot investigation three times, carries on the in-depth interview to the local society and the urban society in the Tianqin producer, the local villagers, the artistic personnel and the government staff separately, A participatory study of the traditional process of Tianqin was carried out. This paper discusses the historical sources of documentation and folklore in the traditional arts and crafts of Tianqin in Longzhou, the whole process from making material selection to making forming, the changing value of the triple identity of French ware, musical instrument and ritual instrument, and the historical origin of folklore and folklore in Longzhou Tianqin. In urban society and local society, different ways of inheritance and the traditional culture behind them. Based on the above research, it is suggested that under the guidance of the government, the pride of the nation over the traditional culture should be cultivated, and the traditional arts and crafts of the Tianqin should be protected and developed with the long-term vision of the national culture. The purpose of this study is to fill the historical blank of Tianqin traditional craft from the point of view of the history of science and technology, enrich the content of Tianqin culture, and play a certain role in applying for the national intangible cultural heritage and carrying forward the traditional culture of our country.
【學(xué)位授予單位】：云南農(nóng)業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J632.3

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