A Study On Cultural Symbol Of Mun Ceremonial Paintings In Yao Autonomous County Of Jinxiu,Guangxi

Paper focuses on the Guzhan village,Yao Autonomous County of Jinxiu,Guangxi of the Munceremonialpaintings ofcultural symbols,use of iconologyand ritual symbol theory,explores the Mun ceremonial paintings in specific ceremony different sacred symbol of the buildupof space andthe embodiment ofthe symbolic meaning,and Mun ceremonial paintings expressedby use of Muncultural concept.On the basis of the interpretation of the image content of the Munceremonial paintings,the comparison with the ceremonialpaintings of Mien,Thuojiu and other Yao branches is taken into account,so as to extract the artistic characteristics of the Mun ceremonialpaintings.Also accountedfor through the Guzhanvillage Mun Dujieceremony of overallinvestigation,clearlydefinethe symbolization of different Mun ceremonialpaintings at the specific content and the formation of the symbolic space further explore ceremonial paintings in the process of symbolization reflects the different symbolic meanings,so as to interpret expressed through the use of Mun ceremonial paintings to draw out the Mun furnace core cultural concept.Thethesisconsistsof five chapters.Inthe introduction part,questions are raised,previous research results at home and abroad are reviewed,and the research significance and core concepts are explained.The first chapter describes the overall situation of the natural and cultural environment in Guzhanvillage.Mun ceremonial paintings is produced in the cultural context that breeds the unique national culture of Mun,and has unique artistic characteristics and symbolic significance,which lays a foundation for the subsequent discussion.The second chapter first describes the retention status and classification of Mun ceremonial paintings,and elaborates the image content of Mun ceremonial paintings by using the description method of previous image records,intuitively grasping its element symbols and artistic features,and obtaining a full understanding of the art ontology.On this basis,the third chapter further comparesand analyzesthe ceremonial paintings of Mienand Thuojiu branches in iconography.Through the comparison of shape,type and content,the unique artistic characteristics of Munceremonial paintings are analyzedstepbystep.Based on abundant first-hand fieldinvestigation materials,the fourth chapter details the longitude,latitude and procedure of the degree Dujie ceremony,so as to clarify how different ceremonial paintings are used in different ritual scenes and in specific ritualcontents along with the development of the ceremony.The fifthchapter,further supported by the theory of ritual symbolism,explains the symbolization and dominance of the Mun ceremonial paintings in the ceremony of the Dujie,and then interprets thesymbolic Spacesof different themes and different symbolic meanings,suchasbelief space,afterlifespace andvotive spaceconstructedby the pictures.From the perspective of interpretive anthropology,the author analyzes the cosmology,values,life and death,childbearing and other core cultural concepts expressed by the use of Mun ceremonial paintings in the context of Mun culture.