摘要
云南马关县阿峨壮族农民版画是2016年云南省第四批省级非物质文化遗产的代表性项目之一,然而阿峨壮族农民版画的创作技艺并非纯然是民间原生传习的传统文化,而是一种非本族群所特有的、后天习得的壮族农民版画艺术,其最初兴起的目的是作为宣传国家政治导向的艺术文化符号,其发展初期曾经受到学院派美术的教育与指导,但是阿峨版画师傅们却打破了学院派美术的表现方法,采用自创的农民审美风格和土生土长的民俗文化自信感进行木雕版画的制作,通过乡村环境艺术再现方式——如空间建构、空间艺术特点和空间艺术表达的环境因素,表达出壮族农民崇尚生命繁衍、热爱家乡、充满感激与积极向上的质朴情感和家园情怀,也让阿峨壮族版画这一外援性非物质文化遗产的传承"活起来"。
The printmaking of A’e Zhuang farmers in Maguan County,Yunnan Province is one of the representative projects of the fourth batch of provincial intangible cultural heritage in 2016.However,the creation skills of A’e Zhuang farmers’printmaking are not purely traditional culture inherited from the people,but an acquired printmaking art of Zhuang farmers that is not unique to this ethnic group.Is the purpose of the initial rise as propaganda national political orientation of art and culture symbol,the development initial period once by academic art education and guidance,however,I print the master had broken the academic art expression method,aesthetic style and adopt a made-up farmers native folk culture sense of confidence for wood engravings,By way of rural environment art representation,such as space construction,the characteristics of space art and space art expression of environmental factors,expresses the zhuang farmers advocating life reproduction and plain love,gratitude,and positive emotions and their feelings,also let I zhuang prints this foreign aid sex inheritance of intangible cultural heritage"alive".
出处
《北京文化创意》
2021年第3期52-59,共8页
Beijing Culture Creativity
基金
2020年度教育部人文社会科学研究青年基金项目《文化生态视域下云南壮族农民版画的活态传统与创新研究(1972-2019)》(20YJC760003)的阶段性成果
关键词
阿峨壮族农民版画
农民审美
乡土家园情怀
外援性非物质文化遗产
An’e Zhuang farmer prints
Farmers aesthetic
Native homeland feelings
Foreign aid intangible cultural heritage
作者简介
陈东博,云南财经大学现代设计艺术学院讲师,专业研究方向为环境设计、文化遗产空间的保护与传承。
