The Visual Art Of Jinghpaw And Ethnic Group Identity

The logic of the interpretation of Jinghpaw's visual arts and ethnic identity,derived from the pluralism of academic insights in the theory of identity in ethnic identity.Jinghpaw visual art itself is a series of visual symbol through the sense of sight,through which the people inside and outside of groups transfer the information and knowledge,so that people have the proof of judgment of their belongings,and expressed the situation about identity and recognition in the community of ethnic society.In order to express the relationship between the visual arts of the Jinghpaw and the ethnic identity,the following research theories and methods are used:First,the art of anthropology and cultural anthropology are the main research methods and perspective positions,combined with the use of related branch ways about anthropology,such as visual anthropology,interpretive anthropology and symbolic anthropology and other related method theory.Second,fieldwork method is able to ensure the development of the thesis,by which the writer could join in their daily life and festival life,feeling their various state and artistic expression of different scenes,and could consult and share information in ralated academic conferences.Thirdly,the method of induction and analysis about literature,especially on the historical records of Jinghpaw and the research documents,could summarize and analyze the mutual construction of visual art and identity.In order to make the theory and field investigation of the research combined closely,the paper will be divided into the following parts to study the relationships between the jinghpaw visual arts and ethnic identity:First of all,the paper begins with the present situation of Jinghpaw art and identity research and reviews the theory of anthropology and ethnology of art and ethnic studies,clarifies and defines the keywords and concepts used in the paper,and tries to establish the research perspective and method of theory.For the sake of interpreting the panoramic view of Jinghpaw visual art,the paper will describe historical sources and production of social background of Jinghpaw art,summarize the characteristics and purpose of Jinghpaw visual art,concludes that artistic expression and ethnic identity spirit are reciprocal causation.Secondly,the visual impression described in jinghpaw history is a reflection of heteropathic identification in the Han nationality as the center.With the frequent social interactions,the Jinghpaw ethnic identity has produced in others identity conditions until the end of the Qing Dynasty to the Republic of China period,which proved subject ethnicity has been created in the development of social history conditions.Since 1949,the Jinghpaw visual arts has experienced two stages from dispelling ethnic identity to reconstruct ethnic identity:Among them,the ethnic identity between 1949 and 1979 was differentiated by the national ideology and political cultural movement,National identity by the official overidding the Ethnic identity,when art was in the blanking state.After 1979 cultural performances under the visual arts contribute to Jinghpaw ethnic identity,as a result of the efforts of ethnic people,Jinghpaw elite and the authority under the background of social and economic prosperity.At the present time the Jinghpaw people make cultural performances in the social media network,which provides more way of comfort for the modern identity crisis of the small population and also shows the ways of the ethnic identity seeking and constructing always change with the time.Among the visual arts of jinghpaw,graphic modeling fully embodies the Jinghpaw people's natural symbiosis concept,practical natural,collective identity of the aesthetic concept and the idea of animism,the animism as the core concept of primitive religious beliefs and philosophy of life in Jinghpaw people.The rituals and their symbols reveal the cultural patterns of ethnic groups,the liturgical objects play the role of interpreting the cultural images of the Jinghpaw culture,the rituals are frequently held for the construction of cultural memory and ethnic emotions,undertaking the function which guarantee and continuation of their social identity.Cultural identification and identity markers revealed intensively in jinghpaw art,including consensus visions of decorations,patterns and colors,which show the differences and attribution of Jinghpaw nationality in the social interaction and are the most symbolic actors in Jinghpaw people 's living of social and cultural environment.Thirdly,since 1980 the largest cultural entity and symbol carrier"Munaozongge"of Jinghpaw visual art,is a great tribute to construct "Chinese Jinphpw".The Munaozongge is the core brand in Jinghpaw culture heritage,the Jinghpaw nationality historical culture and religious beliefs are all included in the visual field display to provide the greatest convenience and the strongest appeal for the whole Jinghpaw.The "playability" and "visually enjoyability" in the reconstruction of Munaozongge not only spread more and more Jinghpaw culture than before,but also gain more social resources for the present Jinghpaw society,and become the most powerful cultural heritage of Jinghpaw that maintain,unite and encourage the ethnic force.In addition,physical symbols of Jinghpaw nationality in social communication interprete the emotion and identity in social relations,bearing the localised production of unique sense.Physical symbols not only as visual representation but also as a cultural operation of object can construct class identity,social status and social identity in Jinghpaw ethnic.Finally,the five chapters respectively focused on the relationship of the expression about reciprocal causation between the Jinghpaw visual art and ethnic identity.The visual expression in the art makes the Jinghpaw become "Jinghpaw" and different from other ethnic groups.The ethnic groups express their inner identity,such as aesthetic taste,style preference,ethnic spirit and so on,out of the ethnic groups show different identities and attribution.In turn ethnic identity influences the vision presentation of art,since the 1980s inspite of some negative influence,the influence is always positive,and eventually formed the jinghpaw ethnic group brands and labels,ethnic spiritual pursuit and ideas are concentrated in the visual art show.All in all,the visual arts is not only the ethnic characteristics of the material culture of for creating her ethnic collective and individual,but also a cultural and political strategy used to display the differences.Visual signs and emotional symbols will be united together as a whole to build "imagination community",identity in turn nourishing the ethnic culture symbol system can load the ethnic group shared cosmological view and world view of knowledge.The academic innovation and practical value of the research lies in:firstly,to further expand the philosophical topic that the world is recognized as the visual perception from the framework of artistic anthropology.Visualization is the simplest and straightforward way to distinguish things from ancient times,human perception of visual senses is the basis of all sensible culture,therefore,the paper focuses on the differences and identities manifested by visual arts,which provides a unique perspective for ethnological and sociology.Secondly,to add something to the ethnic theory,that ethnic visual perception and emotion should be regarded symbols as a ethnic differences and division basis,visual perception emotional symbol should transcend ethnic material and spiritual content,which shaped ethnic groups brand or label and concentrated embodiment of ethnic culture,not only for the Jinghpaw,for all ethnic group.Thirdly,on the base of the theory of pluralistic realization of ethnic identity which pointed out that most of the previous ethnic identity way belong to hardware foundation,the paper will propose that art belongs to software based of identity,although the art production are limited by other hardware conditions,it can be rewrited and created at any time,serving the interests of ethnic groups at any time,so that the visual code to create in art will increasingly be valued by various groups in the era of image.Fourthly,Jinghpaw formed sub-ethnic groups of five branches because of the language differences,but the art made the sub-ethnic groups unite again,in which the visual arts play an important role and especially the cohesion in cultural performances of Munaozongge ceremony is very outstanding.