陕西千阳民间布缝玩具市场态转型研究
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摘要
中国进入20世纪后,以工业化、城市化、科学化为代表的现代化变革不可逆转地瓦解了原生态民间美术古风传承的社会、经济和人文的基础,导致民间美术生存环境的整体改变,原生态民间美术面临整体性的衰亡。另一方面,发展民间美术是维护我国民族文化的需要,也是工业时代人类多元文化建设的需要。传统民间美术不可避免的走上商品化道路,开始向市场态转型。
市场态民间美术与生俱来的经济与文化的双重身份,决定了它要受到文化和经济这两个领域发展逻辑和双重运动规律的作用和制约,也致使它的发展过程中产生了经济与文化、传统与现代的种种矛盾。在实现经济利益的基础上,如何维护文化价值是民间美术市场态转型过程中遇到的最大难题。
陕西省千阳县市场态民间布缝玩具20多年来的发展状况可以说是研究民间美术品市场态转型的范本。本文通过对千阳县布缝玩具的市场态转型的实地考察和深入分析,对其在转型过程中文化价值失落的原因进行深入的剖析,并提出解决问题的具体对策,并以此为例对如何引导民间美术在转型过程中更好地发展和传承得出一些个人的思考。
通过个案分析和理论论证,本文认为民间美术形态是随着其生态环境的变迁而改变的,市场态民间美术是民间美术发展的必然阶段,应该具有自己的特色并被给予加强保护和引导。发展市场态民间美术不仅能实现经济利益,更具有文化战略意义,不仅要作为一项经济产业来对待,更加应该定位于一项文化事业来发展。对于市场态民间美术产品可以作为特殊商品对待,发展市场态民间美术,政府和相关文化部门应该给与更多的关注和引导。
With China’s entry into the 20th century, some of the folk fine arts, traditional social legacy as well as the cradle of economy and humanitarian have been unreservedly deserted by modern reform represented by industrialization, urbanization and scientific approaches, which result in the complete change in survival environment of folk fine arts and the total decline of it. On the other hand, it is unavoidably that traditional folklore art are about to become commodities with the transformation of its market pattern.
With its born double identity of economy and culture in the market-oriented folk fine arts have to be restrained by the double movement function and restriction of the logical development of the two aspects. With the development of that, it brought about a variety of contradictions such as economy and culture, tradition and modern. The biggest problem that we are confronted with is how to maintain the culture value of the civil arts in the market transformation process on the ground of realizing economic benefit.
A study of cloth-knitted toy handicrafts in Qianyang county, Shanxi province in the past 20 years can be regarded as typical representative of market transformation in studying folk fine arts. This paper gives a deep analysis of the loss of culture values by the field study of the toy handicrafts. The author aim at providing specific solution to the problem and at the same time express some personal ideas of how to save our traditional essence of civil arts in the market-oriented economy.
With some case study and theoretical prove, the author of the article believes that folk fine arts must follow the trend of change in its survival pattern. Actually the market transformation is the absolute stage of folk fine arts, with its own specialties, which should be protected and guided. Not only can the development of folk fine arts in the marketing economy bring about the economic profit, but have some strategic meaning. They may be looked on as a economical industry as well as a culture activity.As a special commodity, civil arts will receive more attention and guidance form the local government and culture-protection organization.
市场态民间美术与生俱来的经济与文化的双重身份,决定了它要受到文化和经济这两个领域发展逻辑和双重运动规律的作用和制约,也致使它的发展过程中产生了经济与文化、传统与现代的种种矛盾。在实现经济利益的基础上,如何维护文化价值是民间美术市场态转型过程中遇到的最大难题。
陕西省千阳县市场态民间布缝玩具20多年来的发展状况可以说是研究民间美术品市场态转型的范本。本文通过对千阳县布缝玩具的市场态转型的实地考察和深入分析,对其在转型过程中文化价值失落的原因进行深入的剖析,并提出解决问题的具体对策,并以此为例对如何引导民间美术在转型过程中更好地发展和传承得出一些个人的思考。
通过个案分析和理论论证,本文认为民间美术形态是随着其生态环境的变迁而改变的,市场态民间美术是民间美术发展的必然阶段,应该具有自己的特色并被给予加强保护和引导。发展市场态民间美术不仅能实现经济利益,更具有文化战略意义,不仅要作为一项经济产业来对待,更加应该定位于一项文化事业来发展。对于市场态民间美术产品可以作为特殊商品对待,发展市场态民间美术,政府和相关文化部门应该给与更多的关注和引导。
With China’s entry into the 20th century, some of the folk fine arts, traditional social legacy as well as the cradle of economy and humanitarian have been unreservedly deserted by modern reform represented by industrialization, urbanization and scientific approaches, which result in the complete change in survival environment of folk fine arts and the total decline of it. On the other hand, it is unavoidably that traditional folklore art are about to become commodities with the transformation of its market pattern.
With its born double identity of economy and culture in the market-oriented folk fine arts have to be restrained by the double movement function and restriction of the logical development of the two aspects. With the development of that, it brought about a variety of contradictions such as economy and culture, tradition and modern. The biggest problem that we are confronted with is how to maintain the culture value of the civil arts in the market transformation process on the ground of realizing economic benefit.
A study of cloth-knitted toy handicrafts in Qianyang county, Shanxi province in the past 20 years can be regarded as typical representative of market transformation in studying folk fine arts. This paper gives a deep analysis of the loss of culture values by the field study of the toy handicrafts. The author aim at providing specific solution to the problem and at the same time express some personal ideas of how to save our traditional essence of civil arts in the market-oriented economy.
With some case study and theoretical prove, the author of the article believes that folk fine arts must follow the trend of change in its survival pattern. Actually the market transformation is the absolute stage of folk fine arts, with its own specialties, which should be protected and guided. Not only can the development of folk fine arts in the marketing economy bring about the economic profit, but have some strategic meaning. They may be looked on as a economical industry as well as a culture activity.As a special commodity, civil arts will receive more attention and guidance form the local government and culture-protection organization.
引文
[1]冯骥才主编,鉴别草根中国民间美术分类研究[M],郑州:中州古籍出版社,2006
[2]杨先让,杨阳,黄河十四走——二十世纪八十年代黄河流域民间艺术田野考察报告[M],北京:作家出版社,2003
[3]王朝闻总主编,中国民间美术全集13:游艺编玩具卷[M],济南:山东教育出版社,1993
[4]武维成,樊志毅,张富生编著,千阳民间美术大观[M],西安:陕西人民美术出版社,1991
[5]冯骥才等编,中国民间文化遗产抢救工程普查手册[M],北京:高等教育教育出版社,2003
[6]程大利主编,中国民间美术全集玩具[M],杭州:浙江人民美术出版社,2002
[7]唐家路,潘鲁生,中国民间美术学导论[M],哈尔滨:黑龙江美术出版社,2000
[8]冯骥才主编,守望民间[M],北京:西苑出版社,2006
[9]王连海,中国玩具艺术史[M],长沙:湖南美术出版社,2006
[10]庞薰琹,中国历代装饰画研究[M],上海:人民美术出版社,1982
[11]王连海,中国玩具艺术史[M],长沙:湖南美术出版社,2006
[12]雷圭元,中国图案作法初探[M],上海:上海人民美术出版社, 1979
[13]曹振峰主编,中国美术全集12民间玩具剪纸皮影[M],北京:人民美术出版社,1988
[14]张道一,廉晓春,美在民间[M],北京:北京工艺美术出版社,1987
[15]唐家路,民间艺术的文化生态论[M],北京:清华大学出版社,2006
[16]潘鲁生,抢救民艺:潘鲁生民艺访谈录[M],济南:山东美术出版社,2006
[17][美]弗朗兹·博厄斯,原始艺术[M],贵阳:贵州人民出版社,2004
[18][法]丹纳,艺术哲学[M],北京:人民文学出版社,1963
[19]张道一主编,中国民间美术辞典[M],南京:江苏美术出版社,2001
[20]武维成,樊志毅,千阳民间美术大观[M],西安:陕西人民美术出版社,1991
[21]孙秉山,民间工艺技法基础[M],北京:中国社会出版社,1998
[22]乔晓光主编,交流与协作——中国高等院校首届非物质文化遗产教育教学研讨会文集[M],北京:西苑出版社,2003
[23]吕胜中,再见传统[M],北京:生活·读书·知新三联书店,2004
[24]左汉中,千阳布枕(中国民间美术丛书.绝活儿)[M],长沙:湖南美术出版社,1999
[25]姜哲,中国民间美术解读[M],北京:地质出版社,2005
[26]冯骥才,民间艺术的当代变异[J],文艺报,2003,12(16)
[27]吕品田,衰落与蜕变——百年中国民间美术态势思考[J],文艺研究,2006(2):第99页
[28]李砚祖,惠于传统——访日随笔之二[J],装饰,41～43
[29]张道一,中国民艺的现状与未来[J],美术观察,1997(2):11～13
[30]李砚祖,作为文化工业的当代民间艺术[J],美术观察,2003(12):79～80
[31]冯骥才,抢救与普查:为什么做,做什么,怎么做[J],河南大学学报,2003,43(3):1～3
[32]徐习文谢建明,论民间艺术的形态类型[J],美与时代,2006(8):21～22
[33]陈天培,非物质文化遗产的经济价值[J],改革与策略,2006(5):第99页
[34]张健,手工艺的价值——迈森的传奇[J],美术时代,2006(9):72～73
[35]庞彦强,艺术商品价值论[J],河北学刊,2004,24(6):132～138
[36]诸葛铠,适者生存:中国传统手工艺的蜕变与再生[J],装饰,2003(4):4～5
[37]李砚祖,物质与非物质:传统工艺美术的保护与发展[J],文艺研究,2006(12):106～117
[38]徐艺乙,关于本世纪以来的民间美术研究[J],装饰,2000(1):1～2
[39]冯骥才,活着的遗产——关于民间文化传承人的调查与认定
[40]国务院关于公布第一批国家级非物质文化遗产名录的通知
[41]国家“十一五”时期文化发展规划纲要
[42]李砚祖,物质与非物质:传统工艺美术的保护和发展[J],文艺研究,2006(12):106～117
[43]平安,面临危境民间美术如何保护——“陕西优秀民间美术作品晋京展”报道暨“民间美术的保护与弘扬研讨会”述要[J],美术观察,2004(3):18～19
[44]孔耘,中国民间玩具的当代价值取向[J],装饰,2005(2):115～116
[45]张晓杰,张立平,民间美术与地方风情[J],文艺报,2005,3(26):第4版
[46]吕品田,以民俗建设保护民族民间文化[J],美术观察,2004(3):6～7
[47]胡平,中国传统手工艺的复兴[J],装饰,1999(6):10～14
[48]孔耘,中国民间玩具的当代价值取向[J],装饰,2005(2):115～116
[49]卢晓侠,审美守望的困境与商业文化的再阐释——法兰克福学派审美文艺观反思[J],西北师大学报,2006 ,43(2):50～54
[50]刘能强,民间艺术需要的不仅仅是保护[J],美与时代,2005(12):14～16
[2]杨先让,杨阳,黄河十四走——二十世纪八十年代黄河流域民间艺术田野考察报告[M],北京:作家出版社,2003
[3]王朝闻总主编,中国民间美术全集13:游艺编玩具卷[M],济南:山东教育出版社,1993
[4]武维成,樊志毅,张富生编著,千阳民间美术大观[M],西安:陕西人民美术出版社,1991
[5]冯骥才等编,中国民间文化遗产抢救工程普查手册[M],北京:高等教育教育出版社,2003
[6]程大利主编,中国民间美术全集玩具[M],杭州:浙江人民美术出版社,2002
[7]唐家路,潘鲁生,中国民间美术学导论[M],哈尔滨:黑龙江美术出版社,2000
[8]冯骥才主编,守望民间[M],北京:西苑出版社,2006
[9]王连海,中国玩具艺术史[M],长沙:湖南美术出版社,2006
[10]庞薰琹,中国历代装饰画研究[M],上海:人民美术出版社,1982
[11]王连海,中国玩具艺术史[M],长沙:湖南美术出版社,2006
[12]雷圭元,中国图案作法初探[M],上海:上海人民美术出版社, 1979
[13]曹振峰主编,中国美术全集12民间玩具剪纸皮影[M],北京:人民美术出版社,1988
[14]张道一,廉晓春,美在民间[M],北京:北京工艺美术出版社,1987
[15]唐家路,民间艺术的文化生态论[M],北京:清华大学出版社,2006
[16]潘鲁生,抢救民艺:潘鲁生民艺访谈录[M],济南:山东美术出版社,2006
[17][美]弗朗兹·博厄斯,原始艺术[M],贵阳:贵州人民出版社,2004
[18][法]丹纳,艺术哲学[M],北京:人民文学出版社,1963
[19]张道一主编,中国民间美术辞典[M],南京:江苏美术出版社,2001
[20]武维成,樊志毅,千阳民间美术大观[M],西安:陕西人民美术出版社,1991
[21]孙秉山,民间工艺技法基础[M],北京:中国社会出版社,1998
[22]乔晓光主编,交流与协作——中国高等院校首届非物质文化遗产教育教学研讨会文集[M],北京:西苑出版社,2003
[23]吕胜中,再见传统[M],北京:生活·读书·知新三联书店,2004
[24]左汉中,千阳布枕(中国民间美术丛书.绝活儿)[M],长沙:湖南美术出版社,1999
[25]姜哲,中国民间美术解读[M],北京:地质出版社,2005
[26]冯骥才,民间艺术的当代变异[J],文艺报,2003,12(16)
[27]吕品田,衰落与蜕变——百年中国民间美术态势思考[J],文艺研究,2006(2):第99页
[28]李砚祖,惠于传统——访日随笔之二[J],装饰,41～43
[29]张道一,中国民艺的现状与未来[J],美术观察,1997(2):11～13
[30]李砚祖,作为文化工业的当代民间艺术[J],美术观察,2003(12):79～80
[31]冯骥才,抢救与普查:为什么做,做什么,怎么做[J],河南大学学报,2003,43(3):1～3
[32]徐习文谢建明,论民间艺术的形态类型[J],美与时代,2006(8):21～22
[33]陈天培,非物质文化遗产的经济价值[J],改革与策略,2006(5):第99页
[34]张健,手工艺的价值——迈森的传奇[J],美术时代,2006(9):72～73
[35]庞彦强,艺术商品价值论[J],河北学刊,2004,24(6):132～138
[36]诸葛铠,适者生存:中国传统手工艺的蜕变与再生[J],装饰,2003(4):4～5
[37]李砚祖,物质与非物质:传统工艺美术的保护与发展[J],文艺研究,2006(12):106～117
[38]徐艺乙,关于本世纪以来的民间美术研究[J],装饰,2000(1):1～2
[39]冯骥才,活着的遗产——关于民间文化传承人的调查与认定
[40]国务院关于公布第一批国家级非物质文化遗产名录的通知
[41]国家“十一五”时期文化发展规划纲要
[42]李砚祖,物质与非物质:传统工艺美术的保护和发展[J],文艺研究,2006(12):106～117
[43]平安,面临危境民间美术如何保护——“陕西优秀民间美术作品晋京展”报道暨“民间美术的保护与弘扬研讨会”述要[J],美术观察,2004(3):18～19
[44]孔耘,中国民间玩具的当代价值取向[J],装饰,2005(2):115～116
[45]张晓杰,张立平,民间美术与地方风情[J],文艺报,2005,3(26):第4版
[46]吕品田,以民俗建设保护民族民间文化[J],美术观察,2004(3):6～7
[47]胡平,中国传统手工艺的复兴[J],装饰,1999(6):10～14
[48]孔耘,中国民间玩具的当代价值取向[J],装饰,2005(2):115～116
[49]卢晓侠,审美守望的困境与商业文化的再阐释——法兰克福学派审美文艺观反思[J],西北师大学报,2006 ,43(2):50～54
[50]刘能强,民间艺术需要的不仅仅是保护[J],美与时代,2005(12):14～16