In the hundreds of years after the Ming Dynasty, the Miao silver jewelry experienced a nationalization process of obedience, combination and variation in order to obey the needs of the national aesthetic.
First, all the original varieties of silver jewelry are subject to the selection of the Miao aesthetic standards. Some of them are accepted at the end, some are eliminated after being introduced, and some have been repeatedly modified. However, some are basically retained. The original features. In fact, the development of any national culture is actually a process of deepening understanding and understanding.
Second, the ethnicization process of Miao silver jewelry is also an innovative process. Undoubtedly, human needs are the first source of artistic creation, and the aesthetic concept of the group is the norm of artistic creation. The innovation of Miao silver jewelry is exactly what happened and developed following this logic. Due to the demand for silver jewelry, the Miao nationality's aesthetic consciousness of clothing is gradually separated from the practical consciousness, and the dependence of material needs is transformed into the aesthetic subject-object relationship. Due to the standardization of the group's aesthetic concept, in the process of artistic innovation, the Miao silver jewelry gradually formed its own distinct national personality.
There are many aesthetic views that influence and stipulate the shape of Miao silver jewelry. So, what is the most fundamental one? The Miao people have the custom of “taking money as a decoration†since ancient times. Historical materials also show that “money†decoration and silver jewelry are simultaneously Step into the field of Miao costumes. This kind of exaggerated mentality revealed by the "money-oriented" plays a vital role in the aesthetic value orientation of the Miao silver jewelry, forming the three basic artistic characteristics of the Miao silver jewelry, namely, the big Beauty is to be beautiful and to be more beautiful.
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