走进非物质文化遗产
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摘要
进入21世纪,在全球化浪潮势不可挡的今天,我国正经历着一场前所未有的社会和文化变革。做为传统文化重要载体的非物质文化遗产在现代化的冲击下面临严重的困境。如何保护并合理的利用好非物质文化遗产成为我国社会各界十分关注的问题。所谓非物质文化遗产,就是我们所说的传统文化或民间文化。保护非物质文化遗产既是我们民族文化传承和发展的基础,也是保护中华文化独特性和复兴中华文化的重要环节,具有时间上迫切性和重要的战略意义。
本文以山东省级非物质文化遗产“鲁锦”作为研究对象,从保护、研究和开发这三个角度出发,对鲁西南居住文化中鲁锦艺术进行了详实的研究。文章首先从非物质文化遗产的概念和意义入手,对鲁锦的定义、产地、历史渊源及民俗加以深入的考证;对鲁锦的织机、原料、工序、织造技艺、纹样内涵和织女概况进行了保护性的挖掘整理和研究阐述,并从艺术设计的角度来探讨鲁锦在纹样和色彩上的构成特点,以及与中国著名的三大织锦——云锦、宋锦、蜀锦加以比较。文章最后对鲁锦开发的历史进行了回顾,对现状进行了评述,并对过去和现在所遇到的问题加以总结。
鲁锦能不能真正走进现代生活?原因是多方面的,从早期的产品缩水退色,到市场机制的不健全,以及现在所面临的织女流失、技艺失传,同时在商品经济的大环境下所形成的品牌混乱,产品低端的鲁锦市场,都把“鲁锦”这一珍贵的非物质文化遗产逼上了绝路。面对现状文章对鲁锦艺术的未来提出了追寻历史、传承文化;研究纹样、记录技艺;融会贯通、研发新品的新思路。非物质文化遗产保护是一个新而急的社会课题,在目前繁杂的社会环境中,正确界定我们应该坚持和放弃的原则和内容,是保护中华民族传统文化的关键,也是我们走入走向未来的坚实基础。
Amidst the globalization of the 21st century, China is undergoing unprecedented social and cultural changes. Intangible cultural heritage as a media of traditional culture is faced with the shock of modernization. How to protect and utilize intangible cultural heritage has become a public concern. Intangible cultural heritage is what we term as traditional culture or folk culture. To protect it means to consolidate the basis of our nation’s cultural tradition and development and plays a major role in ensuring the uniqueness of Chinese culture and its revitalization. Great importance has been attached to this urgent issue.
Focusing on Lu Brocade—an intangible cultural heritage at the provincial level of Shandong, this thesis carries out a detailed study on the brocade art in the household culture of Southwestern Shandong, with regard to its conservation, research and development. It starts with the concept and significance of intangible cultural heritage, introducing the definition, origin, history and custom of Lu Brocade. For the purpose of protection, it sheds light on loom machines, materials, process, technique, patterns and women weavers. Through comparison with Yun Brocade, Song Brocade and Shu Brocade—the three famous schools of brocade in China, the article explains the features of Lu Brocade in terms of artistic design: patterns and color. The paper finally provides a review on the development and current state of Lu Brocade, and summarizes the problems that confront this art style.
Is it possible that Lu Brocade would integrate into modern life? Its miserable situation today is a result of many factors: defects of earlier products, unhealthy marketing mechanism, shortage of skilled workers, failure in handing down of techniques, confusion of brands, and poor market targeting. The paper puts forward ideas revolving around promotion of traditions, study of deigns and techniques, and development of new products.
Conservation of intangible cultural heritage is an issue that demands urgent attention. Proper understanding of the principles we should abide or abandon is key to the protection of Chinese traditional culture and provides a basis for its further development.
本文以山东省级非物质文化遗产“鲁锦”作为研究对象,从保护、研究和开发这三个角度出发,对鲁西南居住文化中鲁锦艺术进行了详实的研究。文章首先从非物质文化遗产的概念和意义入手,对鲁锦的定义、产地、历史渊源及民俗加以深入的考证;对鲁锦的织机、原料、工序、织造技艺、纹样内涵和织女概况进行了保护性的挖掘整理和研究阐述,并从艺术设计的角度来探讨鲁锦在纹样和色彩上的构成特点,以及与中国著名的三大织锦——云锦、宋锦、蜀锦加以比较。文章最后对鲁锦开发的历史进行了回顾,对现状进行了评述,并对过去和现在所遇到的问题加以总结。
鲁锦能不能真正走进现代生活?原因是多方面的,从早期的产品缩水退色,到市场机制的不健全,以及现在所面临的织女流失、技艺失传,同时在商品经济的大环境下所形成的品牌混乱,产品低端的鲁锦市场,都把“鲁锦”这一珍贵的非物质文化遗产逼上了绝路。面对现状文章对鲁锦艺术的未来提出了追寻历史、传承文化;研究纹样、记录技艺;融会贯通、研发新品的新思路。非物质文化遗产保护是一个新而急的社会课题,在目前繁杂的社会环境中,正确界定我们应该坚持和放弃的原则和内容,是保护中华民族传统文化的关键,也是我们走入走向未来的坚实基础。
Amidst the globalization of the 21st century, China is undergoing unprecedented social and cultural changes. Intangible cultural heritage as a media of traditional culture is faced with the shock of modernization. How to protect and utilize intangible cultural heritage has become a public concern. Intangible cultural heritage is what we term as traditional culture or folk culture. To protect it means to consolidate the basis of our nation’s cultural tradition and development and plays a major role in ensuring the uniqueness of Chinese culture and its revitalization. Great importance has been attached to this urgent issue.
Focusing on Lu Brocade—an intangible cultural heritage at the provincial level of Shandong, this thesis carries out a detailed study on the brocade art in the household culture of Southwestern Shandong, with regard to its conservation, research and development. It starts with the concept and significance of intangible cultural heritage, introducing the definition, origin, history and custom of Lu Brocade. For the purpose of protection, it sheds light on loom machines, materials, process, technique, patterns and women weavers. Through comparison with Yun Brocade, Song Brocade and Shu Brocade—the three famous schools of brocade in China, the article explains the features of Lu Brocade in terms of artistic design: patterns and color. The paper finally provides a review on the development and current state of Lu Brocade, and summarizes the problems that confront this art style.
Is it possible that Lu Brocade would integrate into modern life? Its miserable situation today is a result of many factors: defects of earlier products, unhealthy marketing mechanism, shortage of skilled workers, failure in handing down of techniques, confusion of brands, and poor market targeting. The paper puts forward ideas revolving around promotion of traditions, study of deigns and techniques, and development of new products.
Conservation of intangible cultural heritage is an issue that demands urgent attention. Proper understanding of the principles we should abide or abandon is key to the protection of Chinese traditional culture and provides a basis for its further development.
引文
[1]李绵璐主编,中国民间文化论文集,武汉:湖北美术出版社,2003
[2]王建辉、易学金主编,中国文化知识精华,武汉:湖北人民出版社,2004
[3]赵翰生,中国古代纺织与印染,上海:商务印书馆,1997
[4]孙天明,民间工艺对现代设计的启示,重庆:重庆建筑大学学报,2000
[5]杨先艺,中外艺术设计探源,武汉:崇文书局,2002
[6]尹定邦,设计学概论,湖南:湖南科学技术出版社,2004
[7]王映雪、于平编著,齐鲁特色文化丛书·服饰,济南:山东友谊出版社2004
[8]朱铭、吴顺平、李百钧等著,把技艺变为财富,山东省“七五”期间哲学社会科学重点科研课题,1986
[9]张亚莹编著,色织物组织与设计,北京:中国纺织出版社,1987
[10]高汉玉、史伯奎,中国古代科技成就,北京:中国青年出版社,1993 [6]李令福著,明清山东省棉花种植业的发展与主要产区的变化,古今农业,2004年第1期.
[11]唐家路,民间美术的生活—实用功能,武汉:湖北美术出版社2003
[12]尤红,民间美术的生长环境,中国艺术学研究,2002年1月第一版
[13]唐家路,民间美术的造物观念,中国艺术学研究,2002年1月第一版
[14]严永和,论传统知识的知识产权保护,北京:法律出版社,2006
[15][英]泰勒,原始文化,(连树声译),桂林:广西师范大学出版社,2005
[16][美]克鲁克洪,文化与个人,(高佳等译),杭州:浙江人民出版社,1986
[17]中国民族民间文化保护工程国家中心,中国民族民间文化保护工程普查工作手册,北京:文化艺术出版社,2005
[18][美]爱尔乌德,文化进化论,(钟兆麟译)上海:世界书局,1932
[19]邓子琴,中国礼俗学纲要(中国文化丛书之一),南京:中国文化社印行,1947
[20]黄石,端午礼俗史,香港:泰兴书局,1963
[21]刘锡诚,把这根文化“接力棒”传下去,北京日报,2006-05-01,(6)
[22]陈真,中国近代工业史资料,北京:生活·读书·新知三联书店,1961
[23]李长年,麻类作物上编,北京:农业出版社,1962
[24]王祯,农书,北京:农业出版社,1963
[25]李砚祖,装饰之道,北京:中国人民大学出版社,1993
[26]彭吉象,中国艺术学,北京:高等教育出版社,2005
[27]赵农,中国艺术设计史,西安:陕西人民美术出版社,2004
[28]段建华,中国吉祥装饰设计,北京:中国轻工业出版社,1999
[29]田自秉吴淑生,中国纹样史,北京:北京高等教育出版社,2003
[30]王振复,中国美术史,上海:复旦大学出版社,2004
[31]中国工艺美术学会理论研究会编,工艺文化研究,济南:山东美术出版社1993
[32]陈娟娟,明清宋锦,故宫博物院院刊,1984年第4期
[33]张道一、廉晓春,美在人间,北京:北京工艺美术出版社,1987
[2]王建辉、易学金主编,中国文化知识精华,武汉:湖北人民出版社,2004
[3]赵翰生,中国古代纺织与印染,上海:商务印书馆,1997
[4]孙天明,民间工艺对现代设计的启示,重庆:重庆建筑大学学报,2000
[5]杨先艺,中外艺术设计探源,武汉:崇文书局,2002
[6]尹定邦,设计学概论,湖南:湖南科学技术出版社,2004
[7]王映雪、于平编著,齐鲁特色文化丛书·服饰,济南:山东友谊出版社2004
[8]朱铭、吴顺平、李百钧等著,把技艺变为财富,山东省“七五”期间哲学社会科学重点科研课题,1986
[9]张亚莹编著,色织物组织与设计,北京:中国纺织出版社,1987
[10]高汉玉、史伯奎,中国古代科技成就,北京:中国青年出版社,1993 [6]李令福著,明清山东省棉花种植业的发展与主要产区的变化,古今农业,2004年第1期.
[11]唐家路,民间美术的生活—实用功能,武汉:湖北美术出版社2003
[12]尤红,民间美术的生长环境,中国艺术学研究,2002年1月第一版
[13]唐家路,民间美术的造物观念,中国艺术学研究,2002年1月第一版
[14]严永和,论传统知识的知识产权保护,北京:法律出版社,2006
[15][英]泰勒,原始文化,(连树声译),桂林:广西师范大学出版社,2005
[16][美]克鲁克洪,文化与个人,(高佳等译),杭州:浙江人民出版社,1986
[17]中国民族民间文化保护工程国家中心,中国民族民间文化保护工程普查工作手册,北京:文化艺术出版社,2005
[18][美]爱尔乌德,文化进化论,(钟兆麟译)上海:世界书局,1932
[19]邓子琴,中国礼俗学纲要(中国文化丛书之一),南京:中国文化社印行,1947
[20]黄石,端午礼俗史,香港:泰兴书局,1963
[21]刘锡诚,把这根文化“接力棒”传下去,北京日报,2006-05-01,(6)
[22]陈真,中国近代工业史资料,北京:生活·读书·新知三联书店,1961
[23]李长年,麻类作物上编,北京:农业出版社,1962
[24]王祯,农书,北京:农业出版社,1963
[25]李砚祖,装饰之道,北京:中国人民大学出版社,1993
[26]彭吉象,中国艺术学,北京:高等教育出版社,2005
[27]赵农,中国艺术设计史,西安:陕西人民美术出版社,2004
[28]段建华,中国吉祥装饰设计,北京:中国轻工业出版社,1999
[29]田自秉吴淑生,中国纹样史,北京:北京高等教育出版社,2003
[30]王振复,中国美术史,上海:复旦大学出版社,2004
[31]中国工艺美术学会理论研究会编,工艺文化研究,济南:山东美术出版社1993
[32]陈娟娟,明清宋锦,故宫博物院院刊,1984年第4期
[33]张道一、廉晓春,美在人间,北京:北京工艺美术出版社,1987