Illustration: in fact, marriage taboo is identified from the operational level, division of identity, distinguish between groups or communities of customization, have prevent incest in the family, between ethnic groups remain intent expression feature stable, pure. What is different, the former taboo internal, hidden in the interior of daily life culture, the latter taboo more direct, appeared in the daily life culture surface. In the Tibetan region, most people have to involve the internal two family party thing in the concept of marriage, as a family or a clan or cottage things, but also in the taboo the designated as the same blood or blood tradition, that marriage is the family, of the tribe of things, rather than family matters; marriage is related to blood thing, and not only for the individual. Expression of this idea is usually the tribal totem, such as "EBO" (natural or religious buildings), yak (animal), "Yong Zhong" (symbol) of ownership, size is determined, and the formation of the corresponding taboo custom, even in many tribes marry marry (or prohibited funerals) has its own particular tribe to,That is to say the object each tribe intermarry are relatively fixed or has the traditional custom, and the traditional outside of marriage is prohibited. Visible, agreed to produce custom, custom taboo taboo provisions, implementation constraints, cumulative become tradition. On this basis, the Qinghai Tibet area are generally pay attention to home than blood belonging totem marriage relationship, just like the mountain than penates, gods belief level is actually the projection of human level, that is, in the Qinghai Tibet area is larger than the family clan is one of the main reasons for individuals and families. In modern times, with the blood relationship and marriage totem, the Qinghai Tibet area business relationship, the relationship between the family, clan, tribe in marriage taboo hybrid, and the attention of family, tribe tends to decrease, the degree of attention on individuals and families increased gradually. In contrast, taboo in the marriage of the collective will, usually by personal and family will to realize. In this sense, the taboo become recognized minimum scale family relationship, delineate ethnic boundaries and the most basic operations.
Li Zhao, Professor of Qinghai University for Nationalities, engaged in the research of the Qinghai Tibet Plateau folk culture. Chinese Folklore Society members, members of the Chinese literary anthropology association. "He presided and participated in the social life of the Tuyuhun attack", social sciences circle home Jin Jin project 4, published "on the" ancestral home Nanjing Abas lane "in a cultural interpretation of", "comparison of Mongolian and Tibetan culture as the evening in 峨博 poetic feature", "cultural color: the Sala history and legend narrative research" more than 30 articles.
In 2008 June, when China's oral and immaterial cultural heritage day came, when our country to protect the second batch of oral and intangible cultural heritage was published on the occasion, a new book releases quietly completed: "poetic plateau Qinghai Tibet region -- folk culture aesthetic", this is a study of folk custom, of course, is also a on the oral and intangible heritage of monographs, has its unique perspective, other colors. In twentieth Century 80 time metaphase culture, Mr. Zhong Jingwen is clearly aware of the close relationship between the folk culture and people's life. In the 1980 issue of "Folk Literature", he put forward the folk literature is the "part of" the whole people's life point of view, in 1982 in the "folklore" and its role in the article, he also pointed out that the object of folklore is a people's country or nation's "living culture". Gao Bingzhong inspired by the philosophy of "phenomenon in the folk culture and folk life" in one book, put forward the research field of folklore is the "life world" view. On the forefront of folk culture of the theory through the study on the Qinghai Tibet Plateau folk culture -- the Qinghai Tibet Plateau is the national life world. Of course, many studies in Tibetan folk culture predecessors, "poetic plateau Qinghai Tibet area" -- folk culture aesthetic contribution is the study of the Qinghai Tibet Plateau from the aesthetic point of view of folklore, the study provides a new perspective for us.
Chapter 1 introduction of diet custom and the aesthetic section of Qinghai Tibet Plateau diet folk culture types and characteristics of the second section of Qinghai Tibet Plateau dietetic aesthetic second chapter dress customs and aesthetic section of Qinghai Tibet Plateau national dress types in section second the Qinghai Tibet Plateau national dress culture of the aesthetic tradition of the third chapter living folk customs and aesthetic section of Qinghai Tibet Plateau nationalities the formation of the concept of architectural aesthetics second section of Qinghai Tibet Plateau nation building type and aesthetic features of the fourth chapter of marriage and folk customs and aesthetic section of Qinghai Tibet Plateau ethnic custom culture in the second section of Qinghai Tibet Plateau ethnic customs aesthetic interpretation of chapter fifth birth etiquette and aesthetic section of Qinghai Tibet Plateau life began etiquette morphology of second section of Qinghai Tibet Plateau life began the sixth chapter etiquette aesthetic implication of funeral customs and aesthetic section of Qinghai Tibet Plateau folk custom of funeral culture type, second section of Qinghai Tibet Plateau funeral culture of the aesthetic significance of the seventh chapter festival custom and the aesthetic section of Qinghai Tibet Plateau folk festival in second section of Qinghai Tibet plateau type characteristics of folk festival in the eighth chapter discusses the aesthetic characteristics of folk beliefs and aesthetic section of Qinghai Tibet Plateau belief @##@ references, postscript aesthetic significance of poetics ninth chapters of folklore culture pluralism process second section of Qinghai Tibet Plateau belief customs and aesthetic section of Qinghai Tibet Ethnic Folk Crafts category, characteristics and design thought Second Tibetan ethnic folk craft aesthetic pattern and characteristics of the tenth chapter of folk music and aesthetic section of Qinghai Tibet Plateau folk music type, prototype and structural feature of the second section of the Qinghai Tibet Plateau folk music "Poetic plateau Qinghai Tibet region: folk culture aesthetic" with a unique perspective, adhere to the Chinese nation the pattern of pluralistic unity “ ” academic guiding ideology, the folk culture as the aesthetic object, discusses the cultural folk Tibetan Plateau rich and thick in the beauty of poetry from food, clothing, housing, marriage, birth, funeral, festival, faith, technology and music ten aspects, involving the plateau more than 20 nationality's social life, the understanding of the regional culture of &ldquo ” cultural adaptation; point of view, highlights the ethnic cultural diversity and pluralism, source, melt interaction, mutual appreciation of the aesthetic qualities, will attention to the plateau of interconnected ethnic corridor, which explore the Tibetan folk culture and the common aesthetic features in Chinese culture, but also focus on the regional culture and the aesthetic personality of thinking, to reflect the nature and life of the region's cultural aesthetic, excavate the area folklore as “ &rdquo of local knowledge; the value and significance of the research, the aesthetic object — — folk customs, folk activities and cultural space of &rdquo “ The special quality, also on trial subject — — national plateau national and ethnic way of thinking, attitude, perception and value system, pay more attention to the complex relations between the aesthetic subject and object, explore the pursuit of aesthetic rules and characteristics and so on many aspects, on the basis of aesthetics and the Qinghai Tibet Plateau nation, construction of aesthetic study of the Qinghai Tibet Plateau system to make unremitting efforts.
This book is a personal writing, many a person with breadth of vision is concerned, care, support the findings. Minzu University of China doctoral tutor Xing Li lady from first to last about progress in the writing process, I studied in Beijing and during her travels to Qinghai to investigate the non-material cultural heritage, she is taking the specific time gave a lot of specific guidance, and wrote the preface Yangyang thousand words long in the center of gravity is completed when the. Here, once again express my sincere compliments to her. Many of the pictures in the book of Tu famous folk photographer Mr. Zhang Xuying and the author together around the field investigation for many times, and shot, according to the requirements of the. We all rush Laughton suffering, but also share the landscape in the sweet, and forged a profound friendship. Not only that, the Qinghai Sheng Wenlian Chairman Mr. Fan Guangming, member of Qinghai Photographers Association Chairman Mr. Cai Zheng and photographer association, Wang Lei, Wu Sixiong, Shen Chuanli, Chang Ligang, Huang Yongming, Cui Taiqi, and Wang Chengyou, Zhao Shichun, Feng Yan, Chen Youjun, Kesang, Xiao Ba, Li Jun and other national folk photographers, are actively to the book with the original film shooting from the field, especially Mr. Cai Zheng in the liaison, coordination, organization collection, personally, personally involved, carefully selected, fully authorized, in strict accordance with the body case specification book and content requirements provides precious pictures of great academic value, makes the book truly illustrations, graphics and document integration, increasing the color in the academic and readability. Then, to their hard work and excellent work to express our heartfelt tribute.
"Poetic plateau Qinghai Tibet region: folk culture aesthetic" was published by the national press.
Culture @ 2017