布里亚特的挂毯艺术:经验和观点

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI:10.21638/spbu15.2023.208
T. I. Zhambaeva
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引用次数: 0

摘要

本文介绍了布里亚特挂毯发展的主要阶段,从19 - 20世纪建立这种基于布里亚特taara地毯编织的艺术形式,到该地区挂毯学派的形成。在20 - 21世纪布里亚特装饰应用艺术的事件和趋势的背景下,对布里亚特挂毯艺术的思考与民间艺术传统进入社会主义现实主义体系,民族认同的复兴过程,作者在挂毯编织领域的创造力等问题有关。考虑到文章所述的主题,可以总结现有的信息,并呈现布里亚特作为挂毯的装饰应用艺术形式的发展和现状的更完整的画面,以及在20 - 21世纪之交介绍关于挂毯大师作品的新材料,考虑布里亚特挂毯艺术在传统与创新的综合中的意义。地域派织锦的特色是由主题和情节的特殊性、布里亚特装饰动机的语义、原作者的编织风格和代代相传的编织经验所决定的。此外,布里亚特挂毯的独创性与古典编织技术中马毛的使用有关。同时,在编织的过程中,保留了头发的自然色调,使编织产品具有微妙的调色板。注重将马毛编织的经验传递给年轻一代。为了说明问题,这里是布里亚特共和国教授“挂毯”学科的教育机构。总的来说,教育机构在这种艺术形式的普及中的作用是突出的。
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Tapestry Art in Buryatia: Experience and Perspectives
The article presents the main stages in the development of tapestry in Buryatia, from the establishment of this form of art based on weaving of nap-free Buryat taara carpets in the 19th–20th centuries, to the formation of the tapestry school in this region. The consideration of the art of tapestry in Buryatia in the context of events and trends in the decorative applied art of Buryatia in the 20th–21st centuries is connected with such issues as the entry of folk artistic traditions into the system of socialist realism, the process of revival of national identity, the author’s creativity in the field of tapestry weaving. The consideration of the stated topic of the article made it possible to summarize the available information and present a more integral picture of the development and current state of this form of decorative applied art of Buryatia as tapestry, as well as to introduce new material about the work of tapestry masters at the turn of the 20th–21st centuries, to consider the significance of the tapestry art in Buryatia in the synthesis of tradition and innovation. The characteristic features of the regional school of tapestry are determined by the specificity of themes and plots, the semantics of the motives of the Buryat ornament, the original author’s style of weaving and the transfer of weaving experience from generation to generation. Furthermore, the originality of the tapestry of Buryatia is connected with the use of horsehair, sarlik hair in the technique of classical weaving. At the same time, in the process of weaving, the natural shades of the hair are preserved, which endow the woven product with a subtle color palette. The attention is paid to transfer of the experience of horsehair weaving to the younger generation. For illustrative purposes, the educational institutions in the Republic of Buryatia, in which the “Tapestry” discipline is taught. In general, the role of educational institutions in the popularization of this form of art is highlighted.
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来源期刊
CiteScore
0.20
自引率
50.00%
发文量
9
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