A Study For Hui Nationality's Traditional Pattern And Color Of Folk Embroidery In Southern Mountains Of Ningxia

The thesis based on the art, ethnology and other subjects related to research methods, comprehensive use of the methods of historical documents, participation observation method and structural interviews and other research methods, mainly analyzes the affected by cultural influences Hui folk embroidery patterns and colors in southern Ningxia. Hui folk embroidery reflects the diversity of patterns and colors in themes, types and characteristics, forming the unique style of the national pattern color culture. This study focuses on the discussion in mountainous area of Southern Ningxia Hui folk embroidery pattern, folk embroidery patterns of the characteristics, meaning and embroidery patterns in the use of color and Hui folk embroidery patterns of the taboo, to explore the aesthetic ideas of the Hui people of color.Hui embroidery patterns and colors of Southern Ningxia mountainous is influenced under the special geographical and humanistic environment, not only the intersection of strong regional characteristics, mufti-cultural blend of deep acting, or Hui in formation in the process of the development of inclusive of folk art, continuous innovation embodied. The Hui folk embroidery in the use of colors and patterns, while maintaining the characteristics of the Hui Islamic culture, and flexible use, use of other ethnic brothers culture related to embroidery art essence, a mufti-nationality country cultural prosperity of the part.Since modern times, the thought of industrial revolution and information revolution has a far-reaching influence on the social, economic and cultural fields of our country. Although the mountainous area of southern Ningxia is located in the border, also to some extent by the impact of modern art. Hui's traditional folk embroidery craft, once under the impact of machine malaise, but as in recent years, the countries of the intangible cultural heritage protection work attention and people living standard continuously improve, the aesthetic also has the new demand, folk embroidery was given a new historical mission, began to return to the folk art scene. Discussed in this paper is not the modern denial, but that people of modernization should also take an inclusive attitude, to traditional folk things to be used.