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中国作为农业文明古国,自上古时代的神农氏和黄帝元妃西陵氏勤于耕织的精神就融入到中华民族的血液中。耕织活动作为农耕社会维系生活、保持社会稳定的先决条件,备受社会各阶层的关注,在以农为本的古代农业社会里,男耕女织不仅代表着满足人民基本的衣食需求,也关系着国家整体的经济生产,因此鼓励农桑是历代统治者积极推行的政策。本文以康熙三十五年《御制耕织图》为研究对象,通过与楼璹系统《耕织图》的图像比较,揭示了焦秉贞在《御制耕织图》中对地域特点淡化及普适性图像建构的视觉传达策略,充分展现了清朝作为一个少数民族政权将农业与政治、农业与民族关系互相作用的政治目的,并形成了官方文献走入民间的图像案例。
As an ancient country with agricultural civilization, China has integrated into the blood of the Chinese nation since the ancient times Shennong and Yellow Emperor Xiling’s industrious spirit. As an important prerequisite for farming society to maintain its social stability and maintain its social stability, farming and weaving activities have drawn much attention from all walks of life. In ancient agrarian agriculture-based society, men and women not only represent the basic needs of the people but also the basic necessities of life. Is related to the overall economic production of the country and therefore encourages Nong Sang to adopt the policy actively pursued by successive rulers. In this paper, the “Imperial system of weaving and weaving” in Kangxi for thirty-five years as the research object, through the comparison with the image of “weaving and weaving map” of Louxu system, we reveal that Jiao Bingzhen The visual communication strategy of adaptive image construction fully demonstrates the political purpose that the Qing Dynasty interacted with the relations of agriculture, politics and agriculture and the nation as a minority government and formed the image case that the official literature went into the folk.