苏南泥塑意象图式的民俗意蕴及其渊源

灿烂的吴地民间文化———苏南泥塑艺术 ,其反映在苏式古建筑殿庭垂脊上的各式泥塑意象图式 ,可谓无处不有、无处不在 ,而图必有意、意必吉祥 ,向具丰富多采的民俗意蕴。从姑苏名园———狮子林古建殿庭垂脊泥塑图案民俗意蕴的剖析中不难发现 ,其“祈福求吉”的意象模式在众多的泥塑作品中贯串始终 ,成为最原始直观又自然稳定的文化特征之一。这无疑与历经二千五百年漫漫长夜 ,一直处于“日出而作、日落而归”的低生产力、低水平的社会生产、生活中 ,而又热切祈盼风调雨顺、富足安康的广大吴地民众的心俗观念和文化意蕴相符 ,这也正是历千年而不衰的苏南泥塑艺术得以世代绵延、传承至今的独特魅力所在

Implications of Folk Customs and the Origin of the Image Schema of Clay Sculptures in Southern Jiangsu

Clay sculptures on the ridges of the ancient local-styled halls and palaces give expression to the brilliant folk culture of clay sculpture in the Wu area. An analysis of the implications of clay sculptures on the ridges of the halls and palaces in Lion Grove Garden shows that the image model of "praying to the gods for good luck" is the same theme of various clay sculptures, which reflects the wishes and the cultural connotations of the local people in the Wu area who prayed for good weather for the crops in their agricultural production for a long period of 25000 years. This explains why the art of clay sculpture has been handed down and is still popular in Southern Jiangsu today.