现代技术冲击下苗族银饰锻制技艺的变迁与传承
|
摘要
因新材料、新设备、新工艺不断被引入,苗族银饰锻制技艺近几十年发生了很大的变化。苗族银饰锻制技艺传承困难的实质是现代机器规模生产取代了部分手工劳动,致使传统银饰制作的必不可少的部分技艺不再为从业者所继承。作为非物质文化遗产,苗族银饰锻制技艺的传承也可以利用现代工具,但整个工艺流程都应该体现"手工"的特征,而不是一半机器生产,一半手工制作。苗族银饰锻制技艺的传承需要发掘锻制技艺自身潜在的市场价值,在实现其市场价值的过程中将技艺传承下去。
With constant introduction of new materials,new equipment and new technics,great changes have taken place in Miao people's silver jewelry forging skills in recent decades. It is difficult to inherit the skills because modern machinery mass production has replaced part of manual labor,leading to the fact that some indispensable skills in traditional silver jewelry making are no longer inherited by practitioners.As intangible cultural heritance,Miao people's silver jewelry forging skills can be inherited by using modern tools,but the handcraft characteristics should be embodied in the whole making process,instead of producing half machine-made and half hand-made jewelries. To inherit the skills,the potential market value of forging skills should be explored so as to inherit the skills in the process of realizing their market value.
With constant introduction of new materials,new equipment and new technics,great changes have taken place in Miao people's silver jewelry forging skills in recent decades. It is difficult to inherit the skills because modern machinery mass production has replaced part of manual labor,leading to the fact that some indispensable skills in traditional silver jewelry making are no longer inherited by practitioners.As intangible cultural heritance,Miao people's silver jewelry forging skills can be inherited by using modern tools,but the handcraft characteristics should be embodied in the whole making process,instead of producing half machine-made and half hand-made jewelries. To inherit the skills,the potential market value of forging skills should be explored so as to inherit the skills in the process of realizing their market value.
引文
[1]周真刚,闫玉.西江苗族银饰工艺的文化生态[J].中央民族大学学报(哲学社会科学版),2014(4):101-106.
[2]陈国玲.从民间工艺的特征探讨苗族银饰的传承与保护[J].原生态民族文化学刊,2015(2):135-139.
[3]李若慧.苗族银饰的文化生态与传统工艺的保护---基于湘黔苗族地区的案例比较[J].湖北民族学院学报(哲学社会科学版),2017(6):92-98.
[4]满芊何.贵州施洞苗族传统工艺田野考察[J].艺术学研究,2009(1):314-343.
[5]田特平,田茂军,陈启贵,石群勇.湘西苗族银饰锻制技艺[M].长沙:湖南师范大学出版社,2010:46-74.
[6]陈静静,俞晓菁.贵州施洞苗族银饰锻制工艺的发展探究---基于塘龙寨的田野考察[J].人民论坛,2015(33):83-85.
[7]靳志华.黔东南施洞苗族生活中白银的社会性应用与文化表达[D].云南大学博士论文,2015.
[8]张建世.黔东南苗族传统银饰工艺变迁及成因分析---以贵州台江塘龙寨、雷山控拜村为例[J].民族研究,2011(1):42-50.
[9]杨正文.清水江流域的白银流动与苗族银饰文化的成因[J].民族研究,2015(5):52-60.
[10]闫玉,彭兆荣.传统手工艺文化的现代表述---以黔东南苗族银饰锻制手工艺为例[J].贵州民族研究,2011(3):72-77.
[11]陈燕琳.云南大理鹤庆新华村白族银铜手工技艺研究[D].中国艺术研究院,2013:22.
[12]佟玉权.非物质文化遗产生产性保护理论探析[J].文化学刊,2013(2):134-139.
[13]林毅红.后申报时期民族传统工艺保护与传承的忧与思---以海南黎族纺染织绣工艺为例[J].中南民族大学学报(人文社会科学版),2012(6):46-50.
[2]陈国玲.从民间工艺的特征探讨苗族银饰的传承与保护[J].原生态民族文化学刊,2015(2):135-139.
[3]李若慧.苗族银饰的文化生态与传统工艺的保护---基于湘黔苗族地区的案例比较[J].湖北民族学院学报(哲学社会科学版),2017(6):92-98.
[4]满芊何.贵州施洞苗族传统工艺田野考察[J].艺术学研究,2009(1):314-343.
[5]田特平,田茂军,陈启贵,石群勇.湘西苗族银饰锻制技艺[M].长沙:湖南师范大学出版社,2010:46-74.
[6]陈静静,俞晓菁.贵州施洞苗族银饰锻制工艺的发展探究---基于塘龙寨的田野考察[J].人民论坛,2015(33):83-85.
[7]靳志华.黔东南施洞苗族生活中白银的社会性应用与文化表达[D].云南大学博士论文,2015.
[8]张建世.黔东南苗族传统银饰工艺变迁及成因分析---以贵州台江塘龙寨、雷山控拜村为例[J].民族研究,2011(1):42-50.
[9]杨正文.清水江流域的白银流动与苗族银饰文化的成因[J].民族研究,2015(5):52-60.
[10]闫玉,彭兆荣.传统手工艺文化的现代表述---以黔东南苗族银饰锻制手工艺为例[J].贵州民族研究,2011(3):72-77.
[11]陈燕琳.云南大理鹤庆新华村白族银铜手工技艺研究[D].中国艺术研究院,2013:22.
[12]佟玉权.非物质文化遗产生产性保护理论探析[J].文化学刊,2013(2):134-139.
[13]林毅红.后申报时期民族传统工艺保护与传承的忧与思---以海南黎族纺染织绣工艺为例[J].中南民族大学学报(人文社会科学版),2012(6):46-50.