艺术人类学视野下的中国传统造型艺术
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摘要
丰富的人类学田野调查资料表明,当今世界上各个国家以及地区生活着的人们都在不同程度上从事着具有各自特色和风格的造型艺术创作。中国在千年文明的不断繁衍传承的过程中,产生了丰富多彩、形式各异且流传悠久的造型艺术。如景德镇的陶瓷、贵州长角苗服饰的织绣纹样、山东农村地区的棉布纺织等,它们往往体现了制作者精湛的工艺制作水平,高度成熟的艺术表现手法,具有较高的艺术审美价值。不论从具体的表现形态还是特定的象征内涵上来说,中国传统造型艺术都具有独特的、鲜明的文化特质。然而,对比世界上其他地区传统艺术的研究成果便可发现,世界上不同民族的传统造型艺术,即便经历着迥然不同的发展历程、存在于千差万别的社会环境中,在艺术表现手法、抽象意义表达以及与之相关联的传统工艺制作水平等方面,都具有一定的共通特质。
Adequate anthropological field research has shed light on the fact that people across the world have been involved in plastic arts creation in one wayor another. Plastic arts in various forms and styles have been deveoped in Chinese history. Ceramics in Jingdezhen county, embroidery of Miao nationality in Guizhou province and cotton weaving technology in Shandong province, among others, are all representatives ofthe expertise in the command ofcommon people with great artisitc value.Traditional plastic arts are featured with distinct styles and connotation. Despite the fact that plastic arts aross the world differ in both appearance and connotation owing to contasting developing history and social background, they share similarity in the aspects ofstyles, materialization ofvalues and the craftmanship involved.
Adequate anthropological field research has shed light on the fact that people across the world have been involved in plastic arts creation in one wayor another. Plastic arts in various forms and styles have been deveoped in Chinese history. Ceramics in Jingdezhen county, embroidery of Miao nationality in Guizhou province and cotton weaving technology in Shandong province, among others, are all representatives ofthe expertise in the command ofcommon people with great artisitc value.Traditional plastic arts are featured with distinct styles and connotation. Despite the fact that plastic arts aross the world differ in both appearance and connotation owing to contasting developing history and social background, they share similarity in the aspects ofstyles, materialization ofvalues and the craftmanship involved.
引文
[1]格罗塞.艺术的起源[M].蔡慕晖,译.北京:商务印书馆,2008:26.
[2]弗朗兹·博厄斯.原始艺术[M].金辉,译.贵阳:贵州人民出版社,2004.
[3]Jeremy Coote,Anthony Shelton.Anthropology art and aesthetics(ed.)[M].Oxford:Clarendon Press,1992:43-49.
[4]罗伯特·莱顿,杰米·德黑拉尼.棉纺与木刻版画中的文化传承[J].关祎,译.江南大学学报,2012(5):93-99.
[5]安丽哲.符号·性别·遗产——苗族服饰的艺术人类学研究[M].北京:知识产权出版社,2010:101.
(1)图片来自http://bbs.iqilu.com/thread-12044089-1-1.html。
(1)图片来自肖宇窗、苟双晓《论傣族织绣图案纹样的象征意蕴》,《装饰》2009年第11期,第23页。
(2)图片来自国家民委门户网站http://www.seac.gov.cn/gjmw/zt/2010-09-06/1283499703693464.htm。
[2]弗朗兹·博厄斯.原始艺术[M].金辉,译.贵阳:贵州人民出版社,2004.
[3]Jeremy Coote,Anthony Shelton.Anthropology art and aesthetics(ed.)[M].Oxford:Clarendon Press,1992:43-49.
[4]罗伯特·莱顿,杰米·德黑拉尼.棉纺与木刻版画中的文化传承[J].关祎,译.江南大学学报,2012(5):93-99.
[5]安丽哲.符号·性别·遗产——苗族服饰的艺术人类学研究[M].北京:知识产权出版社,2010:101.
(1)图片来自http://bbs.iqilu.com/thread-12044089-1-1.html。
(1)图片来自肖宇窗、苟双晓《论傣族织绣图案纹样的象征意蕴》,《装饰》2009年第11期,第23页。
(2)图片来自国家民委门户网站http://www.seac.gov.cn/gjmw/zt/2010-09-06/1283499703693464.htm。