A traditional culture of the Li people Essay 700-800 Words

Traditional Cultural Characteristics of the Li People

(1) Traditional Architectural Art

The dwellings of the Li people have the basic form of unity and wholeness, but also flexibility and variety, and they are all real for the reality of life, without any redundant setups or pretentiousness, and the applicability of their functions, the reasonableness of their structures, the economy of their materials and the harmonization of the environment are aggregated into a Their functionality, structural rationality, economy of materials and harmony with the environment converge to become the true expression of ethnicity and locality. Their architecture is vibrant and nurtures emotions. The architectural character is the true expression of the realist human attitude and values of the sincere, warm, kind and simple Li people. As the real architecture, the Li people's houses are concentrated in functionality, organism and emotion, which are very rich in individuality.

Li people's residence from the design principle, is based on from the people's own thinking characteristics, according to the alpine region specific natural environment, for the national way of life and production and national psychology and customs, the complex residential function is highly generalized and refined, highlighting the main to the shield to be resolved, the whole building form simple and clear, reasonable and natural. This is the Li people in the severe natural conditions of the best program choice, but also in their self-sufficient natural economic and social historical conditions of the real inevitable product. The organic nature of the building is a vivid expression of architectural vitality. Such as the "boat-shaped house" which is based on the organic nature of the building on the "living building" the pursuit of the design concept of the real reflection.

(2) Traditional Totem Culture

The Li is a nation with a unique history, only language and no writing. It has gone through a stage of primitive social development, as have many of its brother peoples. It also has a belief system, namely the worship of totems and the pursuit of beauty. The vestiges of this totem worship are still manifested in all aspects of real life, and it tenaciously influences the character and aesthetic psychology of an ethnic group. From the viewpoint of the remains of Li totem worship, the Li totem worship is inseparable from the status and role of totems in the life and production practices of the Li people. In order to express the unique style of an ethnic group and the self-confidence and self-improvement of the ethnic group itself, the remains of the totem worship of the Li people are more often shown in the national flavor and the pursuit of beauty.

The folklore of the Li people is rich and colorful. The Li's "March 3" festival and the October Cow Sacrifice Festival are just like the Dai's Water Festival in Yunnan Province. The dresses of the Li, each branch has its own characteristics, the patterns on the dresses are novel and colorful, and the patterns are elaborate and chic, no matter it is love and marriage, tattooing and embroidering the face, or other life rituals, all of them tenaciously show their worship of the totem. Although the Li people's worship of totem is a kind of historical trace, this kind of worship is still an outpouring of the real world's life mood, rather than a religious mystery beyond reality.

(3) Aesthetic Characteristics of Tattoos

In the Li society, it is widely believed that women's tattoos are the beauty of women and the virtue of the clan. Therefore, women's tattoos not only show their loyalty to their ancestors and "homogenize" with their totems, but also hold a sacred meaning of clan totems and symbolize their female beauty. Therefore, Li women always take the beauty of their totems as their decorative beauty. In the face pattern of tattoo embroidery face, there are both animal and plant motifs, and their geometric lines, no matter straight lines, double straight lines, curved lines, circular lines, or triangles, are all very symmetrical, coordinated, generous and beautiful. This pursuit of the Li women is not only expressed in the tattoo and embroidery of their faces, but also in their textile printing and dyeing process and the carving art of the whole nation.

The tattoo of primitive society human beings gave it a certain function, but with the development of society, social civilization, the function of the tattoo also occurred a variety of ambiguities. Such as the Yue people break hair tattoo to avoid the harm of the dragon, but when the fishing tools become advanced, the underwater hazards are greatly reduced after the totemic meaning of the pattern is gradually diluted. The tattoo of the primitive society is afraid of not being recognized by ancestors after death and become a lonely ghost, but with the passage of time, historical changes and the gradual assimilation with the Han Chinese nation, the ideology has been changed, and its function of seeking good luck and warding off evil spirits has also been diluted. On the contrary, the aesthetic significance of decorative and artistic beautification of tattoos has been strengthened and constantly increased, giving them a high aesthetic value. The pattern of tattoos is the basis for analyzing all aesthetic values, and no matter what purpose it originates from, the aesthetic effect of the pattern cannot be denied. Li tattoo pattern, from the design conception and its formal beauty of the law, those symbolic, composed of points and lines or simple or redundant abstract pattern, and not casually pricked on the body, but with a certain method and principle, is according to a certain law of beauty, that is, the law of formal beauty, the root of the formal beauty of the life practice, because the law of the formal beauty of people in the Long-term aesthetic practice, the reality of many beautiful things in the formal characteristics of the generalization and summary. Such as simple unity, symmetry, balance, rhythm, change and unity and other forms of beauty. The beauty of Li tattoo is the embodiment of these formal beauty, with independent aesthetic significance.

(4) clothing and brocade characteristics

Li clothing has extremely rich cultural connotations, colorful and bright, with many variations of lace patterns, as early as in the Tang and Song dynasties are known around the world. Li brocade pattern is a cultural phenomenon that embodies the aesthetic sense, life style, cultural practices, religious beliefs and artistic accumulation of the Li people. There are two major types of brocade: one is the various brocade patterns on women's clothing, with human and animal patterns as the main patterns, supplemented by flowers, plants, trees and geometric patterns. The other category is large-scale dragon quilt, wall hangings, etc., whose patterns are mainly human, frog, dragon and phoenix patterns, supplemented by flowers. Lai brocade pays attention to the use of color, mainly black as the background, the pattern is red, yellow, white, purple, pink, brown, brown, coffee color, colorful patterns. There are many varieties of Lai brocade patterns, which are roughly divided into six parts: human figure pattern, nature pattern, animal pattern, plant pattern, production, life pattern, and text pattern.

Li brocade pattern in addition to some **** the same point, each region's dress pattern pattern is very different, each has its own artistic characteristics, the formation of colorful Li brocade works of art. In a sense, the dress pattern is the identification symbol of each dialect, because each dialect is affected by the environment, living customs culture, economy and education, etc., so that the brocade pattern of each dialect reflects, to varying degrees, the social life production, cultural life, love and marriage, religious beliefs of the activities as well as the legend of the auspicious or beautiful image things. It is always the human activities as well as animals, plants, natural scenery and more stereotyped objects in people's mind as the theme of weaving europium brocade patterns, thus forming the art and characteristics of brocade patterns.　Second, the study of traditional Li culture in design

Regional and national culture can be transformed into international culture under certain conditions, and international culture can be absorbed and integrated into new regional culture under certain conditions. This global cultural pluralism is also bound to become the main pursuit of reflecting the cultural epoch of Li traditional culture in contemporary design. In a sense, the traditional culture of the Li ethnic group opens up new ideas for us to re-create cultural regionalism in the field of design.

(I) the symbolism of the traditional Li cultural elements

The symbolism of the symbols in design, not only in the form of visual associations, but also more importantly, it can evoke people's thoughts and associations, and then empathy, to achieve the emotional **** song, rich in the regional cultural connotations of the design is also more meaningful. Symbol is the intermediary of load and transmission of information, is a simplified means of understanding things. Design symbols have a specific meaning of graphics and objects, but also structure, color, furnishings, decorative, scale and spatial layout. These symbols through the precipitation of history, formed a relatively stable cultural accumulation and aesthetic significance, reflecting the style characteristics of different regional cultures