Henan Huaiyang Clay Mud Dog Story Of Image And The Image Of The Aesthetic Potential

The essay takes Huaiyang Ni-ni-gou as its research object, puts much focus on the study of the story pattern and image of Huaiyang Ni-ni-gou, and on the basis of it, gives a further and deeper analysis of the aesthetic potential of Huaiyang Ni-ni-gou.In the detailed study, the essay follows the principle of situation, makes a great effort to approach or reduct the historical situation of the research object; based on the methods and materials of anthropology, archaeology, literature, folklore and disciplines like that, the essay gives a further discussion on the story and image of Huaiyang Ni-ni-gou, meanwhile, makes an analysis of the aesthetic potential of Huaiyang Ni-ni-gou in cooperation with psychology and individual ecology.The essay is made up of three parts, the introduction, the main three chapters and the end.The first chapter is the introduction, which makes a brief generalization of the present study situation of Ni-ni-gou; it makes an investigation into the historical changes of the name and concept of Ni-ni-gou, and at the same time, its traditional styles, which has laid down a foundation for the later study.The second chapter makes a study of Ni-ni-gou from the angle of story, on the basis of evidences like archaeology, literature, folklore, and linguistics, explores respectively the three main patterns of picture stories of mud dog:fairy tales, folk tale, and historical tales.The third chapter makes a research of imagery system of Ni-ni-gou in accordance with picture stories of them; elaborating from the aspects of totem image worship, nature image worship, ancestor image worship and procreation image worship, the essay demonstrates the close relationship between the image of Ni-ni-gou and the Dongyi Culture and southwest minority culture, and also shows the subtle relationship of these images.The fourth chapter elaborates the aesthetic potential of Ni-ni-gou. The first part investigates the aesthetic potential of Ni-ni-gou from the angles of eyes and orders, and studies the aesthetic potential of Ni-ni-gou from situation, plot and truth. The second part analyzes the aesthetic potential of the image of Ni-ni-gou, discusses the procession how the religious image turns to aesthetic image.The fifth chapter is the end, which briefly and simply summarizes the main conclusion of the essay based on the former chapters’analysis:1. the Ni-ni-gou has the blood of the Dongyi Culture, reflects the rich historical information of bird worship, sun worship, moon worship and tiger worship and the like;2. there is a relationship between the image and story of Ni-ni-gou and the southwest minority culture more or less;3. there is an inheritance relationship between the Dongyi Culture and the southwest culture:after defeated by Yanhuang tribes, Chiyou and Taihao retreated to Jianghan, and built Sanmiao tribe, under the attack of Yao, Shun and Yu, some part of Sanmiao tribe move to the northwest, formed Yi and Naxi minority groups which worshiped tigers, another part of it moved to Sichuan Basin, more of it moved to the mountains bounded by Sichuan, Hubei and Hunan, formed the present Miao minority groups;4. According to the study of the picture story and image of Ni-ni-gou, reexplains the Pangu mythology, the Queen mythology and Kuafu mythology, and the relationship between Fuxi and Taihao, Pangu is the god of bird, the Queen is the god of tiger, Kuafu and Fuxi are the chiefs of tiger tribes, all of these have a close relationship with the Dongyi Culture;5. eye and order of the Ni-ni-gou’s picture with sitation and plot of Ni-ni-gou’s picture stories have aesthetic potential;6. Ni-ni-gou’s religious image has gradually removed the utilitarian color in the long river of history,and turned into the aesthetic image is not completely no-utilitarian,but the implicit utilitian.