Study On The Cultural Genes And Their Maps Of The Bamboo Blastware Of The Dai People

Located in the southwestern border of the motherland,the south of Buddhism is popular.In the long-term historical development,it merges with the Dai people's native culture and the Central Plains culture to form the unique water culture of the Dai people.The water culture is indelibly imprinted in the life of Dai people demonstrating the great charm of Buddha culture.The Dai people's lacquerware conveying the connotation of water culture in the Dai society which regards bamboo as indispensable architectural materal.playing a unique role,lead Dai people to move from the courtyards to the temples,from secularization to sacredness.The Dai people's lacquerwares are made of bamboo skin,and they are polished,smeared with white cotton paper,paved and painted.They are carved into sahao(lifting),langbai(for table),and aiba(storage box).Combining practicality and aesthetics together,they are indispensablein the daily religious activities and festivals of the Dai people.In 2017,Dai people's lacquerware were listed in the representative project of intangible cultural heritage of Yunnan province.The Dai people's bamboo lacquer ware is not only the cultural treasure of the Dai people,but also a wonderful expression of the Chinese lacquer craft.However,there are few studies in the academic circles on the Dai people's bamboo lacquer ware.The article studies the cultural genes and maps of the Dai people's bamboo lacquerware,giving a ethnographic description of the Dai people's lacquerware,and extracting the technology genes and pattern genes of the Dai lacquerwares on this basis.On the theoretical level,it provides educational circles with detailed fieldwork materials and academic analysis of certain values about the Dai people's lacquerware,and enriches the research on the traditional handicraft culture genes of ethnic minorities.In the practical sense,the article aims at promoting the inheritance and development of Dai lacquerware in modern society through the analysis of present situations and deep thinking of the Dai people's lacquerware.This study takes cultural genetic research as the main breakthrough point and main research methods,using a combination of literature and fieldwork.From the perspective of cultural genes,it analyzes the cultural connotation of the Dai lacquerwares itself,extracts the technology genes and pattern genes of the Dai lacquerwares,and how to generate and interact with other material cultures in the water culture system.The article attempts to construct the exogenous gene map of the Dai lacquerwares,from plane to solid,from a single independent pattern to a continuous set of pictures,in order to find out the regularities of the Dai people's lacquerwares culture expression through the recording and comparison of pictures.The first chapter gives an overview of the Dai lacquerwares.Firstly,it sorts out the Dai people's water culture in which the Dai lacquerwares deeply rooted.Secondly,it traces the history of the Dai lacquer wares,and then carries out detailed research on the process,artistic features and functions of the Dai lacquerware.The second chapter focuses on the extraction of the genes of Dai lacquerware.Analyzing and extracting the material gene with bamboo as the "heart",the "water-shaped story" gene based on water culture,and the mobility in the gene of Dai craftsmanship: the transmission between Meme gene.The third chapter is mainly about the analysis and compilation of the genetic map of Dai lacquer wares.The first is about the graphics of the Dai lacquer wares.The process of graphics is carried out around the patterns and the shapes of the lacquerware.The second is to compile a map of typical patterns in a brief analysis and draw conclusions.The conclusion mainly summarizes viewpoints by sorting out the logic of the construction of Dai people's lacquerware,and proposes suggestions about the inheritance and development of Dai lacquerware.Furthermore,giving a rethink that how to balance the relationship between tradition and modernity of traditional handicrafts of ethnic minorities.From the perspective of utensils,this study believes that the most fundamental cultural genes of the Dai lacquer wares originate from the water culture of the Dai people.The culture is full of profound vitality after communication and integration with foreign culture,which is the root of Dai cultural genes.The Dai lacquerware has the characteristic of stability in the shape.In the historical evolution process,the shape of the Dai lacquerwares remains basically unchanged.As far as the patterns of the Dai lacquer ware are concerned,its essential attribute is suitability.From the perspective of the lacquer itself,the suitability is not only reflected in the Dai lacquer ware' harmony between pattern and shape.When religious ceremonies performs,the pattern of the Dai lacquer ware is consistent with the religious atmosphere,which together creat the religious culture place of Nan Buddhism in the Dai area.This suitability reflects the active and conscious religious integration of the Dai people.It is found to have similar characteristics to biological genes: culture gene of Dai lacquerware has relative stability and moderate variability,and stability is the premise and foundation.It exhibits moderate variability with changes in time and space,and keeps accordance with the times,constantly adjusting and optimizing its own gene expression.From the perspective of cultural genes,exploring the rules of gene mapping of traditional handicrafts of ethnic minorities,and analyzing and reflecting on the methods of gene mapping of handicrafts.This study considers for traditional three-dimensional ethnic handicrafts there is a correlation between the inherent material properties and external pattern expressions.Grasping this related attribute is of great significance for extracting three-dimensional artifact culture genes.