User:Jiang Xinyue - Revision history

Jiang Xinyue at 15:57, 19 June 2025

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Jiang Xinyue at 14:22, 19 June 2025

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Jiang Xinyue at 14:14, 19 June 2025

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Jiang Xinyue at 14:12, 19 June 2025

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Jiang Xinyue at 13:32, 19 June 2025

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Jiang Xinyue at 23:37, 5 June 2025

2025-06-05T23:37:04Z

@@ Line 71: / Line 71: @@
 The dragon pattern is common in formal attire, but Miao dragons differ fundamentally from Han Chinese imperial symbols. They are seen as ordinary creatures of nature, protectors, and sources of fertility. Dragon patterns symbolize strength, courage, and blessing, often rendered abstractly and combined with fish or water waves.
-The floral pattern signifies beauty, happiness, and auspiciousness, representing vitality and prosperity (e.g., peony for wealth, lotus for purity, peach blossom for love). Often presented in openwork carving with vines, like flowers on silver caps.
+The floral pattern signifies beauty, happiness, and auspiciousness, representing vitality and prosperity (e.g., peony for wealth, lotus for purity, peach blossom for love). It is often presented in openwork carving with vines, like flowers on silver caps.
 '''VII.Transmission and Innovation of Miao Silver Ornaments'''

@@ Line 67: / Line 67: @@
 Patterns are the visualized creative language of the Miao people, record the evolution of Miao social consciousness and ethnic emotional world (Jiang & Cai & Yin 2025, 11). Typical Miao silver patterns fall into four categories. The first category stems from ancestral worship: patterns like butterflies (symbolizing Butterfly Mother, the mythical progenitor), dragons, and divine birds. The second category stems from migration memory: elements like silver bells on neck rings and waist pendants. The third category stems from nature worship: reflecting an animistic worldview with fish patterns (symbolizing fertility & nostalgia for homeland), floral patterns (signifying perpetual life), and starry patterns (embodying primitive cosmology). The fourth category stems from desires for warding evil and invoking fortune: bridges between humans and deity, auspicious beast figures and pointed horn decorations, embodying religious beliefs and wishes for a good life.
-The butterfly pattern is the core Miao totem, symbolizing the origin of life and ancestors. In Miao ancient songs, Butterfly Mother, born from a maple tree and laying twelve eggs that hatched the Miao ancestor Jiangyang, is revered as the mother of all things. Butterfly patterns, signifying life propagation and ethnic origin, are ubiquitous on hairpins, neck rings, etc.
+The butterfly pattern is the core Miao totem, symbolizing the origin of life and ancestors. In Miao ancient songs, Butterfly Mother, born from a maple tree and laying twelve eggs that hatched the Miao ancestor Jiang Yang, is revered as the mother of all things. Butterfly patterns, signifying life propagation and ethnic origin, are ubiquitous on hairpins, neck rings, etc.
 The dragon pattern is common in formal attire, but Miao dragons differ fundamentally from Han Chinese imperial symbols. They are seen as ordinary creatures of nature, protectors, and sources of fertility. Dragon patterns symbolize strength, courage, and blessing, often rendered abstractly and combined with fish or water waves.

← Older revision		Revision as of 14:22, 19 June 2025
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	通过对苗族银饰与其他国家银器文化的对比可以发现，不同国家和民族的银器文化都有着各自独特的发展历程、艺术风格和文化内涵。这些银器文化在全球范围内相互交流、相互影响，共同构成了丰富多彩的世界银器文化景观。在全球化的今天，我们应该加强对不同国家和民族银器文化的研究和交流，促进全球银器文化的文明对话，让这些珍贵的文化遗产在交流与融合中得到更好的保护和传承。		通过对苗族银饰与其他国家银器文化的对比可以发现，不同国家和民族的银器文化都有着各自独特的发展历程、艺术风格和文化内涵。这些银器文化在全球范围内相互交流、相互影响，共同构成了丰富多彩的世界银器文化景观。在全球化的今天，我们应该加强对不同国家和民族银器文化的研究和交流，促进全球银器文化的文明对话，让这些珍贵的文化遗产在交流与融合中得到更好的保护和传承。
−	~~苗族银饰 Miao Silver Ornaments~~

	'''术语和表达'''		'''术语和表达'''

@@ Line 379: / Line 379: @@
 '''参考文献'''
-[1]Jiang, J. , Cai, X. , Yin, H. , Research on the Local Reconstruction of Intangible Cultural Heritage in Ethnic Tourism Villages: A Case of Miao Silver Ornaments in Xijiang Miao Village. SAGE Open 15.1 (2025): 1-16.
+[1]Jiang, J. , Cai, X. , Yin, H. , Research on the Local Reconstruction of Intangible Cultural Heritage in Ethnic Tourism Villages: A Case of Miao Silver Ornaments in Xijiang Miao Village. ''SAGE Open'' 15.1 (2025): 1-16.
-[2]Wang, M. , Lau, N. , NFT digital twins: a digitalization strategy to preserve and sustain Miao silver craftsmanship in the metaverse era[J]. Heritage 6.2 (2023): 1921-1941.
+[2]Wang, M. , Lau, N. , NFT digital twins: a digitalization strategy to preserve and sustain Miao silver craftsmanship in the metaverse era[J]. ''Heritage'' 6.2 (2023): 1921-1941.
 [3]陈江南, 吴蔚. 千年银光中的非遗密码[J]. 当代贵州, 2025(15): 33-35.

@@ Line 38: / Line 38: @@
 Head Ornaments are the most ornate category, including Silver Horns, unique pieces often modeled after ox horns, with a central fan resembling a peacock’s tail, engraved with phoenixes soaring and dragons playing on the tips, surrounded by floral motifs, symbolizing “auspicious dragon and phoenix” and “prosperity in bloom.” Silver Fans are often semicircular with exquisite engravings, worn complementarily with the horns. Silver Crowns are complex structures made of multiple silver plates, flowers, and chains, appearing noble and magnificent when worn. Considered the “head” of the full silver set, renowned as the “dragon head and phoenix tail” (Jiang Yuxi 2025, 36), Silver Phoenix Crowns and Silver Flower Hats are primary headpieces. Silver Hairpins come in various shapes, slender or carved into flowers or animals, used to secure hair buns.
 Neck and Chest Ornaments are important components, including Silver Neck Rings, often woven from multiple silver strands, sometimes inlaid or engraved, worn in multiple layers, embodying an aesthetic that values heaviness and abundance. Silver Yalings are richly patterned, complex semicircular pieces evolved from longevity locks, symbolizing protection and safety.
 Hand Ornaments mainly include Silver Bracelets, essential for Miao women and diverse in styles (plain, engraved, gem-inlaid), and Silver Rings, ranging from simple to complex patterns, reflecting diversity.
 Ear Ornaments represent the category with the most styles, varying significantly between Miao branches and even by gender/marital status within branches. Common types include Silver Ear Pendants and Silver Earrings, featuring unique shapes.
 Body/Attire Ornaments primarily refer to the Miao Silver Attire, a perfect fusion of clothing and silver with high aesthetic value. Sewn with numerous silver plates, flowers, and chains, they produce crisp, melodious sounds when moving. Deeply connected to Miao history and culture, they embody unique Miao aesthetics.
 Waist Ornaments are worn at the waist, often on the right side, including Silver Waist Belts, composed of chains and ornaments, sometimes inlaid or engraved, and Silver Waist Pendants, smaller but more refined than other pendants, featuring various shaped plates, bells, etc., adding dynamic beauty with movement.
 '''V.Cultural Characteristics of Miao Silver Ornaments'''
@@ Line 66: / Line 54: @@
 Admiration for Grandiosity reflects the Miao people’s love for the magnificent and spectacular. For example, large silver wings half the wearer’s height showcase craftsmanship and signify family wealth and the wearer’s imposing presence.
 Admiration for Heaviness signifies esteem for wealth and strength. A full Miao woman’s silver adornments can weigh 20-30 pounds, and the pursuit of “heaviness” persists. Wearing heavy silver displays beauty but also symbolizes affluence and status.
 Admiration for Multiplicity reflects the rich diversity of the ornaments. Each Miao branch has distinct styles, with variations even within branches. Dressed in full regalia, Miao women wear vast amounts of silver from head to toe, glittering brilliantly, demonstrating their love for life and pursuit of beauty.
 Additionally, the tradition of “using money as adornment” persists. The amount of silver worn indicates family wealth. In Miao society, silver ornaments are not just decoration but symbols of prosperity; accumulated wealth is invested into silver, worn to display economic strength and social standing.
@@ Line 86: / Line 68: @@
 The butterfly pattern is the core Miao totem, symbolizing the origin of life and ancestors. In Miao ancient songs, Butterfly Mother, born from a maple tree and laying twelve eggs that hatched the Miao ancestor Jiangyang, is revered as the mother of all things. Butterfly patterns, signifying life propagation and ethnic origin, are ubiquitous on hairpins, neck rings, etc.
 The dragon pattern is common in formal attire, but Miao dragons differ fundamentally from Han Chinese imperial symbols. They are seen as ordinary creatures of nature, protectors, and sources of fertility. Dragon patterns symbolize strength, courage, and blessing, often rendered abstractly and combined with fish or water waves.
 The floral pattern signifies beauty, happiness, and auspiciousness, representing vitality and prosperity (e.g., peony for wealth, lotus for purity, peach blossom for love). Often presented in openwork carving with vines, like flowers on silver caps.
 '''VII.Transmission and Innovation of Miao Silver Ornaments'''
@@ Line 239: / Line 215: @@
 苗族银饰因其制作工艺悠久、技艺高超、造型精美等，有极高的文化传承价值，于2006年5月20日被列入第一批国家级非物质文化遗产名录（姚莉 2024，44），这体现了其在中华民族文化宝库中的重要地位。苗族银饰是苗族人民世代相传的瑰宝，不仅表现出苗族文化的独特性和丰富性，也承载着苗族人民的历史记忆与情感（谢荣东、夏换、李丽平 2024，168）。作为中国乃至世界文化遗产的重要组成部分，苗银一直吸引着众多学者、艺术家和文化爱好者的关注与研究。
 '''II. 苗族银饰的历史渊源'''
@@ Line 255: / Line 233: @@
 苗族银饰的制作工艺不仅体现了银匠们的高超技艺，还承载着苗族人民的文化传承和审美观念。银饰的制作工序环环相扣，每个环节都凝聚着匠人对美学与技艺的极致追求（陈江南、吴蔚 2025，34），凝聚着他们的心血和智慧。
 '''Ⅳ. 苗族银饰的种类'''

@@ Line 13: / Line 13: @@
 With their long history, superb craftsmanship, and exquisite forms, Miao silver ornaments hold significant cultural transmission value. They were inscribed into the first National Intangible Cultural Heritage List on May 20, 2006 (Yao Li 2024, 44), affirming their important status within China’s cultural treasury. Passed down through generations, Miao silver ornaments manifest the uniqueness and richness of Miao culture while bearing the historical memories and emotions of the Miao people (Xie Rongdong & Xia Huan & Li Liping 2024, 168). As an integral part of China’s and the world’s cultural heritage, Miao silver continues to attract the attention and research of numerous scholars, artists, and cultural enthusiasts.
-[[File:Diyi.jpg]]
+[[File:Chatu.jpg]]
 '''II.Historical Origins of Miao Silver Ornaments'''

@@ Line 13: / Line 13: @@
 With their long history, superb craftsmanship, and exquisite forms, Miao silver ornaments hold significant cultural transmission value. They were inscribed into the first National Intangible Cultural Heritage List on May 20, 2006 (Yao Li 2024, 44), affirming their important status within China’s cultural treasury. Passed down through generations, Miao silver ornaments manifest the uniqueness and richness of Miao culture while bearing the historical memories and emotions of the Miao people (Xie Rongdong & Xia Huan & Li Liping 2024, 168). As an integral part of China’s and the world’s cultural heritage, Miao silver continues to attract the attention and research of numerous scholars, artists, and cultural enthusiasts.
-[[File:Pictureone.jpg]]
+[[File:Diyi.jpg]]
 '''II.Historical Origins of Miao Silver Ornaments'''
@@ Line 31: / Line 31: @@
 This craftsmanship not only demonstrates the artisans’ superb skills but also carries the cultural heritage and aesthetic values of the Miao people. Each step in the intricate process embodies the artisans’ ultimate pursuit of aesthetics and technique (Chen Jiangnan & Wu Wei 2025, 34), representing their dedication and wisdom.
-[[File:Picturetwo.jpg]]
+[[File:Dier.jpg]]
 '''IV.Types of Miao Silver Ornaments'''
@@ Line 39: / Line 39: @@
 Head Ornaments are the most ornate category, including Silver Horns, unique pieces often modeled after ox horns, with a central fan resembling a peacock’s tail, engraved with phoenixes soaring and dragons playing on the tips, surrounded by floral motifs, symbolizing “auspicious dragon and phoenix” and “prosperity in bloom.” Silver Fans are often semicircular with exquisite engravings, worn complementarily with the horns. Silver Crowns are complex structures made of multiple silver plates, flowers, and chains, appearing noble and magnificent when worn. Considered the “head” of the full silver set, renowned as the “dragon head and phoenix tail” (Jiang Yuxi 2025, 36), Silver Phoenix Crowns and Silver Flower Hats are primary headpieces. Silver Hairpins come in various shapes, slender or carved into flowers or animals, used to secure hair buns.
-[[File:Picturethree.jpg]]
+[[File:Disan.jpg]]
 Neck and Chest Ornaments are important components, including Silver Neck Rings, often woven from multiple silver strands, sometimes inlaid or engraved, worn in multiple layers, embodying an aesthetic that values heaviness and abundance. Silver Yalings are richly patterned, complex semicircular pieces evolved from longevity locks, symbolizing protection and safety.
-[[File:Picturefour.jpg]]
+[[File:Disi.jpg]]
 Hand Ornaments mainly include Silver Bracelets, essential for Miao women and diverse in styles (plain, engraved, gem-inlaid), and Silver Rings, ranging from simple to complex patterns, reflecting diversity.
-[[File:Picturefive.jpg]]
+[[File:Diwu.jpg]]
 Ear Ornaments represent the category with the most styles, varying significantly between Miao branches and even by gender/marital status within branches. Common types include Silver Ear Pendants and Silver Earrings, featuring unique shapes.
-[[File:Picturesix.jpg]]
+[[File:Diliu.jpg]]
 Body/Attire Ornaments primarily refer to the Miao Silver Attire, a perfect fusion of clothing and silver with high aesthetic value. Sewn with numerous silver plates, flowers, and chains, they produce crisp, melodious sounds when moving. Deeply connected to Miao history and culture, they embody unique Miao aesthetics.
-[[File:Pictureseven.jpg]]
+[[File:Diqi.jpg]]
 Waist Ornaments are worn at the waist, often on the right side, including Silver Waist Belts, composed of chains and ornaments, sometimes inlaid or engraved, and Silver Waist Pendants, smaller but more refined than other pendants, featuring various shaped plates, bells, etc., adding dynamic beauty with movement.
-[[File:EPictureeight.jpg]]
+[[File:Diba.jpg]]
 '''V.Cultural Characteristics of Miao Silver Ornaments'''
@@ Line 67: / Line 67: @@
 Admiration for Grandiosity reflects the Miao people’s love for the magnificent and spectacular. For example, large silver wings half the wearer’s height showcase craftsmanship and signify family wealth and the wearer’s imposing presence.
-[[File:Pictureninebig.jpg]]
+[[File:Da.jpg]]
 Admiration for Heaviness signifies esteem for wealth and strength. A full Miao woman’s silver adornments can weigh 20-30 pounds, and the pursuit of “heaviness” persists. Wearing heavy silver displays beauty but also symbolizes affluence and status.
-[[File:Picturetenheavy.jpg]]
+[[File:Zhong.jpg]]
 Admiration for Multiplicity reflects the rich diversity of the ornaments. Each Miao branch has distinct styles, with variations even within branches. Dressed in full regalia, Miao women wear vast amounts of silver from head to toe, glittering brilliantly, demonstrating their love for life and pursuit of beauty.
-[[File:Pictureelevenmuch.jpg]]
+[[File:Duo.jpg]]
 Additionally, the tradition of “using money as adornment” persists. The amount of silver worn indicates family wealth. In Miao society, silver ornaments are not just decoration but symbols of prosperity; accumulated wealth is invested into silver, worn to display economic strength and social standing.
@@ Line 87: / Line 87: @@
 The butterfly pattern is the core Miao totem, symbolizing the origin of life and ancestors. In Miao ancient songs, Butterfly Mother, born from a maple tree and laying twelve eggs that hatched the Miao ancestor Jiangyang, is revered as the mother of all things. Butterfly patterns, signifying life propagation and ethnic origin, are ubiquitous on hairpins, neck rings, etc.
-[[File:Butterfly.jpg]]
+[[File:Hudie.jpg]]
 The dragon pattern is common in formal attire, but Miao dragons differ fundamentally from Han Chinese imperial symbols. They are seen as ordinary creatures of nature, protectors, and sources of fertility. Dragon patterns symbolize strength, courage, and blessing, often rendered abstractly and combined with fish or water waves.
-[[File:Dragon.jpg]]
+[[File:Long.jpg]]
 The floral pattern signifies beauty, happiness, and auspiciousness, representing vitality and prosperity (e.g., peony for wealth, lotus for purity, peach blossom for love). Often presented in openwork carving with vines, like flowers on silver caps.
-[[File:Flower.jpg]]
+[[File:Hua.jpg]]
 '''VII.Transmission and Innovation of Miao Silver Ornaments'''

@@ Line 98: / Line 98: @@
 年，灵隐寺被列为全国重点佛教寺院；2013年入选第七批全国重点文物保护单位。其建筑群融合宋、明、清三代风格，堪称江南寺院建筑的典范（国家文物局, 2013）。
 '''II. 名称由来'''
@@ Line 112: / Line 114: @@
 灵隐寺依山势形成五重轴线布局：自山门而入，天王殿首当其冲，供奉弥勒佛与四大天王，高悬康熙御书“云林禅寺”金匾；其后的大雄宝殿为核心建筑，高33.6米，内奉24.8米高的释迦牟尼樟木坐像，为中国现存最高室内木雕佛像；药师殿供奉药师佛及十二神将；藏经楼珍藏《龙藏》《碛砂藏》等佛经万余卷；最高处的华严殿供奉毗卢遮那佛，象征法界智慧。整座寺院以宋代柱础、明代斗拱、清代彩绘共存为特色，完美诠释“殿宇重深，廊庑环绕”的禅宗伽蓝格局（张十庆, 《江南禅寺建筑研究》, 2010）。
 '''V. 文化意义'''