参考文献/References:
[1] 王卫红.试论苗族妇女腰带及其文化内涵——以贵州惠水县摆金镇为例[J].长江师范学院学报,2013,29(6):17-21,138.
WANG Weihong. Miao women’s girdle and its cultural connotation—a case study of Baijin Township of Huishui County, Guizhou[J]. Journal of Yangtze Normal University, 2013, 29(6): 17-21, 138.(in Chinese)
[2] 曹维琼,孟筑敏.惠水县志[M].贵州:贵州人民出版社,1988:437- 438.
[3] 邓元鏸,万慎.叙永永宁厅县合志[M].成都:巴蜀书社,1992:143.
[4] 席克定.试论苗族妇女服装的类型、演变和时代[J].贵州民族研究,2000,21(2):69-77.
XI Keding. On the types, evolution and times of Miao women’s clothing[J]. Guizhou Ethnic Studies, 2000, 21(2): 69-77.(in Chinese)
[5] 张红樱.谈彩陶鹳鱼石斧图的巫画性质[J].中原文物, 2015(4): 64- 67.
ZHANG Hongying. On the character of sorcery painting in painted pottery of stork fish and stone axe[J]. Cultural Relics of Central China,2015(4):64- 67.(in Chinese)[6] 周亚辉.由“踩歌堂”看青海大通舞蹈纹彩陶盆的问世内涵[J].装饰,2013(11):82-83.
ZHOU Yahui. The connotation of dancing ornamentation on the painted pottery basin in datong qinghai from the folk dance of "Caigetang"[J].Art of Design, 2013(11): 82-83.(in Chinese)
[7] 李玲.苗族服饰图案设计研究与应用[D].武汉:湖北美术学院, 2020: 6-8.
[8] 刘瑞璞,陈静洁.中华民族服饰结构图考:汉族编[M].北京:中国纺织出版社,2013:70-74.
[9] 谭华.贵州苗族服饰文化内涵的诠释[J].贵州大学学报(艺术版),2008,22(3):20-23.
TAN Hua. An interpretation of the cultural connotation of the Mao costumes in Guizhou[J]. Journal of Guizhou University(Art Edition), 2008, 22(3):20-23.(in Chinese)
[10] 唐琦.先秦儒道墨节俭思想及其现代价值[D].哈尔滨:哈尔滨工程大学,2014:1-5.
[11] 何圣伦.苗族审美意识研究[D].重庆: 西南大学, 2011:190-195.
[12] 谢菲.苗族百褶裙“叠穿”中的“礼”与“理”[D].北京:北京服装学院,2017:11.
[13] 李琳.中外首饰赏析[M].武汉:中国地质大学出版社, 2014:97.
[14] 冯梦龙.智囊全集·卷五知微[M].北京:中国文史出版社,2011:84.
[15] 王苹.妇好墓出土人像及相关问题探讨[J].博物院2018,11(5):51-57.
WANG Ping.Research on jade figurines from Fu Hao Tomb and related problems[J]. Museum, 2018,11(5):51-57.
[16] 沈仲常.三星堆二号祭祀坑青铜立人像初记[J].文物,1987(10):16-17.
SHEN Zhongchang. A preliminary record of bronze statue in Sanxingdui No.2 sacrificial pit[J]. Cultural Relics, 1987(10): 16-17.(in Chinese)
[17] 王悦婧.商至西周时期青铜艺术中的人物形象研究[D].济南:山东大学,2014:36-37.
[18] 戴思蒙·莫里斯.亲密行为[M].上海:上海译文出版社,2021:55.
(责任编辑:张 雪)