虎作为中国传统动物的典型形象，在中国文化传承与艺术发展上有着特殊地位，渗透于民间方方面面，尤其是在传统民俗文化中扮演着极为重要的角色。陕西民间布艺是陕西地区的特色传统民俗文化之一，不仅是广大劳动民众的生活写照，更是陕西地区人文、历史、经济的综合文化体现。陕西民间布艺虎是陕西地域内一种独特的文化现象，体现了当地的民风民俗、哲学观念，有一定的文化、艺术及经济价值。

本文以陕西地区的布艺虎为研究对象，针对其装饰语言进行研究，首先将陕西民间布艺虎的功能分类、地域分布、制作工艺作出梳理分析，对陕西民间布艺虎作出概述。其次是研究布艺虎中的装饰语言，通过其装饰造型、装饰构图与装饰色彩研究其文化寓意，从而挖掘陕西民间布艺虎装饰语言的当代艺术价值。最后，对陕西民间布艺虎的发展环境与现状进行分析，总结出陕西民间布艺虎发展的优势与问题，并对其未来发展提出合理化的建议。根据本文研究涉及的内容，论文共分为五个部分。第一部分为绪论部分，主要是阐明研究本课题的研究背景与意义，明确研究的内容，了解目前国内外的研究现状；第二部分是对陕西民间布艺虎与装饰语言的概述，此部分归纳了已有的关于陕西民间布艺虎的学术研究和文化史料，对本文所研究的陕西民间布艺虎定义，分析其来源。然后通过田野调查等研究方法对陕西民间布艺虎的功能品类、区域划分及制作工艺方面进行整理；并对装饰语言的概念进行释义，为之后装饰语言的研究提供理论支撑；第三部分则是通过对造型、构图、色彩和文化寓意的详细分析来阐述陕西民间布艺虎的装饰语言表现；第四部分是通过其装饰语言的研究分析布艺虎作为民间艺术品在当代社会中的美学价值。通过其装饰语言分析其审美价值，研究陕西民间布艺虎所蕴含的情感价值与社会价值；第五部分则是通过分析其发展优劣势，提出多种保护和发展措施，希望能有助于推动陕西民间布艺虎的传统技艺与文化的传承和发展。

本文对陕西民间布艺虎的装饰语言方面进行了更加深入、系统的探索，为民间艺术工作者提供可借鉴与参考的资料，同时为陕西民间布艺虎的传承与发展提供了有益的思路与参考。

The tiger, as a quintessential representation of traditional Chinese animals, occupies a special place in the cultural heritage and artistic development of China, permeating various aspects of folk life, particularly within traditional folk culture. Folk art in Shaanxi is one of the distinctive traditional folk cultures of the region, reflecting not only the daily lives of the general populace but also embodying the comprehensive cultural expressions of Shaanxi's humanities, history, and economy. The Shaanxi folk cloth tiger represents a unique cultural phenomenon within the region, encapsulating local customs, philosophical views, and possessing significant cultural, artistic, and economic value.

This paper aims to investigate the decorative language of Shaanxi folk cloth tigers, based on empirical research and historical documentation. It categorizes the types and maps the geographic distribution of these tigers, analyzing the stylistic features and cultural backgrounds of cloth tigers from different areas of Shaanxi. The study further delves into the decorative language of these tigers, exploring their cultural significance through analyses of decorative forms, compositions, and color schemes, thereby uncovering the contemporary artistic value of Shaanxi folk cloth tiger decorations. Lastly, the paper assesses the developmental context and current state of the Shaanxi folk cloth tigers, identifying both strengths and challenges in their evolution, and proposes rational recommendations for their future development. Based on the content of this study, the paper is divided into five parts. The first part is the introduction, which mainly clarifies the research background and significance of this topic, defines the research content, and understands the current research status at home and abroad. The second part is an overview of folk cloth tigers and decorative languages in Shaanxi, which summarizes the existing academic research and cultural historical materials on folk cloth tigers in Shaanxi. It defines the folk cloth tigers in Shaanxi studied in this paper and analyzes their origin. Then, through fieldwork and other research methods, it sorts out the functional categories, regional division, and production techniques of folk cloth tigers in Shaanxi. It also interprets the concept of decorative language, providing theoretical support for the subsequent research on decorative language. The third part elaborates on the decorative language expression of folk cloth tigers in Shaanxi through detailed analysis of their shapes, compositions, colors, and cultural implications. The fourth part analyzes the aesthetic value of cloth tigers as folk artworks in contemporary society through their decorative language. It explores the aesthetic value and studies the emotional and social values embedded in folk cloth tigers in Shaanxi. The fifth part proposes various protection and development measures by analyzing their advantages and disadvantages, aiming to promote the inheritance and development of traditional skills and culture of folk cloth tigers in Shaanxi.

This research provides a more in-depth and systematic exploration of the decorative language of Shaanxi folk cloth tigers, offering valuable insights and references for folk artists and contributing useful ideas and guidance for the preservation and development of this folk art form.

[1]宋敏.民间布艺中的虎形装饰艺术研究[D].苏州大学,2012.

[2]白晓.陕西民间布艺造型及技艺形式研究[D].西安工程大学,2015.

[3]张莉郡.视觉文化语境下山西非遗布老虎的文创设计与推广研究[D].桂林电子科技大学,2021.

[4]张晨暄.民间虎俗信仰下儿童虎饰研究[D].苏州大学,2017.

[5]杨扬.民间布艺虎形图案的探寻与设计[D].河南师范大学,2018.

[6]朱恒烁.传统民间布塑[D].中央美术学院,2015.

[7]贾虹宇.陕西千阳布艺造型在文创产品中的设计应用[D].西安工程大学,2019.

[8]刘均,白瑞.新时代户县民间布老虎的文化创意转化研究[J].大众文艺,2022(20):48-50.

[9]张艺薇.千陇地区儿童布艺中虎的造型艺术研究[D].西安美术学院,2010.

[10]加藤幸治.郷土玩具の新解釈無意識の“郷愁”はなぜ生まれたか[M]東京:社会評論社,2011.12

[11]Lin,Chaoching. 現代技職暨藝術高等教育落實傳統師承制度可行性之研究–以工藝傳承為例.[M] Diss.National Taiwan Normal University (Taiwan), 2022.

[12]张晓萍.民间布艺[M].北京：中国轻工业出版社,2007.

[13]李峰.西安地区隋唐墓葬镇墓俑研究[D].山东大学,2008.

[14]陈登凯,王瑶.基于MCCQ的民间布老虎色彩特征提取及设计实践[J].包装工程,2019,40(24):45-49.

[15]李纳.豫东民间布艺中虎形图案在现代童装中的应用研究[D].中原工学院,2020.

[16]李友友.民间刺绣[M].北京:中国轻工业出版社,2005.

[17]地方志编撰委员会.陕西地方志丛书.民俗志[M].西安:陕西人民出版社,2000.

[18]赵琳.陕西乡俗刺绣艺术特征的地域差异化研究[D].西安工程大学,2019.

[19]地方志编撰委员会.陕西地方志丛书.地理志[M].西安:陕西人民出版社,2004.

[20]朱培初.中国的刺绣[M].北京:人民出版社，1987:6.

[21]周路.郭如林布堆画[M].江苏:江苏美术出版社，2013.

[22]E.H贡布里希[英].秩序感-装饰艺术的心理学研究[M].长沙:湖南科学技术出版社,2005.2.

[23]李建华.布老虎的民间艺术形象变异[J].艺术与设计(理论),2008,(10):192-194.

[24]阿道夫·希尔德勃兰特[德].造型艺术中的形式问题[M].潘耀昌,译.北京:中国人民大学出版社,2004.

[25]汪玢玲.中国虎文化研究[M].长春:东北师范大学出版社，1998.

[26]周敏.国潮视域下传统五毒纹在服装设计中的应用研究[D].东华大学,2023.

[27]许宇敏.清代蝙蝠纹样在服饰品设计中的应用研究[D].浙江理工大学,2023.

[28]赵朵朵.符号学语境下渭南虎形面花文化创新设计应用研究[D].西安理工大学,2023.

[29]赵茂生.装饰图案[M].杭州:中国美术学院出版社，1999.1

[30]王琥.装饰与民间艺术[M].重庆:重庆出版社，2003

[31]张晓霞,缪良云.丝之禅[J].丝绸,2008(01):48-49+52.

[32]王伟.汉代绘画形态中的循环因素研究[D].西安美术学院,2010.

[33]季增辉.凤翔彩绘泥塑研究[D].湖北工业大学,2017.

[34]张海霞,维力斯.千阳刺绣审美特征研究[J].宝鸡文理学院学报(社会科学版),2014,34(03):42-45.

[35]刘帆.中国民间玩具布老虎审美特征研究[J].艺术与设计(理论),2011,2(04):272-274.

[36]周杰.黄河中下游民间布老虎的艺术特征及创新应用研究[D].江南大学,2021.

[37]白奚.中国古代阴阳与五行说的合流——《管子》阴阳五行思想新探[J].中国社会科学,1997,(05):23-33.

[38]张茹.从民间布老虎的造型审美看中国传统阴阳观[J].艺海,2020,(11):166-168.

[39]林忠军.从帛书《易传》看孔子易学解释及其转向[J].北京大学学报(哲学社会科学版),2007,(03):86-91.

[40]梁玖.中国民间美术[M].南京:南京师范大学出版社，2014.

[41]武维生,樊志毅,张富生.千阳民间美术大观[M].西安:陕西人民出版社, 1991.

[42]张新沂.中国民间儿童玩具史话[M].广东:新世纪出版社，2016

[43]张道一.张道一论民艺[M].济南：山东美术出版社，2008.5

[44]曹勇.浅谈虎头帽的艺术与审美[J].艺术与设计，2014,4:286-288

[45]六、创造中华文化新的辉煌[N].人民日报,2014-07-09(015).

[46]吕宾.乡村振兴视域下乡村文化重塑的必要性、困境与路径[J].求实,2019,(02):97-108+112.

[47]黄永林,谈国新.中国非物质文化遗产数字化保护与开发研究[J].华中师范大学学报(人文社会科学版),2012,51(02):49-55

[48]刘红婴，王健民.世界遗产概论[M].北京：中国旅游出版社，2003.8

[49]范周.文旅融合的理论与实践[J].人民论坛·学术前沿,2019,(11):43-49.

[50]左倩.文旅融合赋能非遗传承[J].人民论坛,2020(19):138-139.