The Transmutation And Reconstruction Of The Auspicious Image Of " Fulushou " In Tibetan Art

In the ’ Zhouyi · Xicizhuan ’,it is written : ’ Image in the heaven,forming in the earth ’.’ Image ’ is a kind of ’ image ’,which is a way for the ancients to classify and analyze things,and a means and method to understand the world.Xiang is closely related to words and meanings.Wang Bi,a metaphysicist of Wei State in the Three Kingdoms period,made a general comment on this : ’ Fu Xiang,Qi Yi;the speaker,the imager also.The meaning is like nothing,like nothing.Words are born in images,so we can find words to observe images;the elephant is born of meaning,so we can find the image to observe the meaning.Meaning to image,like to speech.The prophet is therefore clear.Get like and forget;the elephant is therefore intended,proud and forgotten.The concept of auspicious image of ’ ’ and ’ Fulushou ’ is extended from the relationship between ’ words ’,’ meaning ’ and ’ image ’.As a kind of cultural change of happiness belief and practice type aiming at the pursuit of well-being,it has lasted for thousands of years,and its common way of creating the auspicious history of ’ Fulushou ’ in a specific society is the same as that of creating the auspicious history of ’ Fulushou ’ between different societies.The transmutation and reconstruction of the auspicious image of "Fulushou " in Tibetan art is based on a set of common cultural vocabulary in a cultural community.Regional culture and ethnic culture enrich its derivation,and different groups can use it to express their world outlook.These cultural images and the myths formed by them are continuous and discontinuous.Different ethnic groups from the Han to the Tibetan will write their respective interpretations of cultural symbols and practices,and practice creates a human order to the greatest extent,which broadens the ’ explanatory field ’ of these images and behaviors and redefines their connotations.With the passage of time,the various interpretations of the auspicious image culture of ’ Fulushou ’ are superimposed.This paper is divided into four parts : abstract,introduction,text and conclusion.The abstract part shows the research content and conception of this paper.The introduction part shows the background and source of the topic,the purpose and significance of the research,the research status and development trend at home and abroad,and the definition of core concepts.The text part is divided into four chapters.The first chapter defines the concept and scope of auspicious culture,’ Fu Lushou ’ culture and ’ Fu Lushou ’ auspicious image,and combs,summarizes and interprets the composition system of ’ Fu Lushou ’ auspicious image content,so as to better understand the connection and difference between auspicious culture,’ Fu Lushou ’ culture and ’ Fu Lushou ’ auspicious image.The second chapter analyzes the artistic ontology,artistic characteristics,artistic structure and artistic style of the auspicious image of ’ Fulushou ’ in different times,different regions and diverse and unified traditional art,and tries to reveal the composition and presentation of the auspicious image of ’ Fulushou ’ in traditional art.The third chapter expounds the evolution of the theme prototype,expression form and cultural interpretation of the auspicious image of ’ Fulushou ’ in Tibetan art in the form of examples.These changes exist in the relationship between visual perception image and social context.Therefore,if an image is used in a different context,its meaning will change accordingly;the symbolic meaning it carries is no longer the original ones,but constitutes more content with different interpretations.The fourth chapter expounds the reconstruction of the structure,style,function and communication of the auspicious image of ’ Fulushou ’ in Tibetan art in the form of examples.Although the prototype of the auspicious image of ’Fulushou ’ is faithful to the expression form of the traditional auspicious image of ’ Fulushou ’ in the mainland,it does not give up the Tibetan ’s own cultural standard,but pursues the organic integration and reorganization of the traditional auspicious image of ’ Fulushou ’ in the mainland and Tibetan art based on the influence of Tibetan culture.The conclusion part of the article summarizes this article and reflects on the limitations of the research.