【摘要】：我國(guó)歷史悠遠(yuǎn)，文化豐富多樣，漫長(zhǎng)的歷史沉淀令很多地區(qū)保留下了蘊(yùn)含著深厚民族本源文化內(nèi)涵的藝術(shù)與技術(shù)形式，它們無(wú)形地存在著，卻產(chǎn)生了大量珍貴的有形產(chǎn)品，學(xué)術(shù)界稱之為“非物質(zhì)文化遺產(chǎn)”。2006年，衡水內(nèi)畫(huà)首批被列入全國(guó)非物質(zhì)文化遺產(chǎn)名錄。然而，在現(xiàn)代化物質(zhì)文明高度同質(zhì)化的大環(huán)境下，包括衡水內(nèi)畫(huà)在內(nèi)的中國(guó)非物質(zhì)文化遺產(chǎn)卻承受著現(xiàn)代化、都市化進(jìn)程帶來(lái)的巨大壓力。因此，國(guó)內(nèi)掀起了保護(hù)與傳承這些非物質(zhì)文化遺產(chǎn)的浪潮。 雖然傳統(tǒng)觀念認(rèn)為，傳承人是非物質(zhì)文化遺產(chǎn)的重要載體，但是在當(dāng)前的社會(huì)經(jīng)濟(jì)大環(huán)境中，市場(chǎng)已經(jīng)成為非物質(zhì)文化遺產(chǎn)的最好的傳播空間，所以將非物質(zhì)文化遺產(chǎn)推向市場(chǎng)，實(shí)現(xiàn)產(chǎn)業(yè)化發(fā)展是保護(hù)和傳承的最好途徑。同時(shí)，在黨中央大力發(fā)展文化產(chǎn)業(yè)的政策推動(dòng)下，非物質(zhì)文化遺產(chǎn)產(chǎn)業(yè)化也迎來(lái)了良好的市場(chǎng)契機(jī)，大力推動(dòng)非物質(zhì)文化遺產(chǎn)產(chǎn)業(yè)化發(fā)展對(duì)于轉(zhuǎn)變經(jīng)濟(jì)發(fā)展方式，促進(jìn)地方經(jīng)濟(jì)發(fā)展有著重要的意義。保護(hù)非物質(zhì)文化遺產(chǎn)對(duì)保護(hù)世界文化多樣性、抵制外來(lái)文化對(duì)民族國(guó)家的文化滲透、提升本國(guó)文化在國(guó)際文化競(jìng)爭(zhēng)中的實(shí)力等方面都有負(fù)有艱巨的使命，同時(shí)更在延續(xù)人類社會(huì)方面起著不可替代的重要作用。因此，非物質(zhì)文化遺產(chǎn)相關(guān)研究的關(guān)鍵則集中在如何有力、有效地對(duì)其進(jìn)行保護(hù)上。尤其是非物質(zhì)文化遺產(chǎn)可否以產(chǎn)業(yè)化方式保護(hù)，以及如何成功實(shí)施產(chǎn)業(yè)化保護(hù)等問(wèn)題在理論界引起了廣泛的討論。 本論文以衡水冀派內(nèi)畫(huà)為例，透徹地分析了其特有的文化特征和藝術(shù)特性，將對(duì)衡水冀派內(nèi)畫(huà)的研究落實(shí)到實(shí)際的調(diào)查行動(dòng)上，具走訪，調(diào)查研究，以前，衡水的內(nèi)畫(huà)產(chǎn)業(yè)多是一家一戶、一村一店的手工藝作坊,缺乏科學(xué)規(guī)劃,沒(méi)有規(guī)模效益。在市場(chǎng)經(jīng)濟(jì)的大潮沖擊下，要將非物質(zhì)文化遺產(chǎn)轉(zhuǎn)化為文化資本，必須走產(chǎn)業(yè)化發(fā)展之路，實(shí)行市場(chǎng)運(yùn)作。對(duì)于內(nèi)畫(huà)藝術(shù)保護(hù)與傳承的途徑是需要不斷探索的，產(chǎn)業(yè)化方式是可持續(xù)發(fā)展思路下的一條可行的道路。為進(jìn)一步推動(dòng)以產(chǎn)業(yè)化的方式實(shí)現(xiàn)對(duì)非物質(zhì)文化遺產(chǎn)的有效保護(hù)，并充分發(fā)揮其在利民方面的積極作用，國(guó)家文化部共評(píng)選出35項(xiàng)第一批國(guó)家級(jí)“非遺”項(xiàng)目，衡水習(xí)三內(nèi)畫(huà)藝術(shù)有限公司于2011年12月與北京市榮寶齋、江西省景德鎮(zhèn)古窯瓷廠等著名傳統(tǒng)工藝一起被列為第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)生產(chǎn)性保護(hù)示范基地，這是國(guó)家對(duì)保護(hù)非物質(zhì)文化遺產(chǎn)措施。以衡水冀派內(nèi)畫(huà)為典型案例，從對(duì)衡水內(nèi)畫(huà)的產(chǎn)業(yè)化價(jià)值入手，詳細(xì)分析了衡水冀派內(nèi)畫(huà)的概況、產(chǎn)業(yè)化經(jīng)營(yíng)的基本狀況、現(xiàn)有的產(chǎn)業(yè)化經(jīng)營(yíng)模式，從而深入發(fā)掘其在產(chǎn)業(yè)化經(jīng)營(yíng)與保護(hù)中在各領(lǐng)域中存在缺陷，剖析這些不足產(chǎn)生的原因，并進(jìn)一步對(duì)所存在的所有問(wèn)題提出有針對(duì)性的建議。本文的研究主要從以下幾個(gè)方面展開(kāi)： 緒論部分是對(duì)本論文的選題背景及意義文獻(xiàn)綜述、研究?jī)?nèi)容及方法、創(chuàng)新之處的論述；第一章的衡水內(nèi)畫(huà)藝術(shù)及其工藝特征，，主要對(duì)內(nèi)畫(huà)的發(fā)展脈絡(luò)及工藝特征的分析；第二章是對(duì)衡水內(nèi)畫(huà)傳承人及產(chǎn)業(yè)化現(xiàn)狀的分析，分別對(duì)內(nèi)畫(huà)傳承人進(jìn)行了介紹，并結(jié)合內(nèi)畫(huà)的產(chǎn)業(yè)化發(fā)展現(xiàn)狀對(duì)衡水區(qū)域經(jīng)濟(jì)的影響和經(jīng)營(yíng)模式進(jìn)行了分析；第三章是對(duì)衡水內(nèi)畫(huà)產(chǎn)業(yè)化存在的不足和發(fā)展做出了全面的論述�？偨Y(jié)出了衡水內(nèi)畫(huà)產(chǎn)業(yè)化存在的七個(gè)問(wèn)題，并針對(duì)這七個(gè)問(wèn)題提出了良好的產(chǎn)業(yè)化發(fā)展策略；結(jié)論部分是對(duì)全文進(jìn)行的總結(jié)。 以上內(nèi)容為本課題主要的研究?jī)?nèi)容，借此平臺(tái)與同仁共同討論，不足之處懇請(qǐng)指正。
[Abstract]:Our country has a long history, rich cultural diversity, long history precipitation makes many areas retain the art and technology form which contains the profound national origin culture connotation. They exist invisible, but have produced a large number of valuable tangible products. The academic circle called it "intangible cultural heritage".2006, the first batch of Hengshui interior painting was included in the whole. However, under the great environment of high homogenization of modern material civilization, the intangible cultural heritage of China, including Hengshui interior painting, bears the great pressure of modernization and urbanization. Therefore, the wave of protecting and inheriting these intangible cultural heritage has been set off in China.
Although the traditional idea holds that the inheritor is an important carrier of the intangible cultural heritage, the market has become the best space for the intangible cultural heritage in the current social and economic environment. Therefore, it is the best way to push the intangible cultural heritage to the market, and to realize the industrialization development is the best way to protect and inherit it. At the same time, the Party Central Committee is in the Central Party's Central Committee. Driven by the policy of vigorously developing cultural industry, the industrialization of intangible cultural heritage has also ushered in a good market opportunity. It is of great significance to promote the industrialization of intangible cultural heritage to change the way of economic development and promote the development of local economy. Culture has an arduous mission to the cultural penetration of the nation and the strength of the national culture in the international cultural competition. It also plays an irreplaceable role in the continuation of the human society. Therefore, the key to the research of the intangible cultural heritage is how to effectively protect it. In particular, the issue of whether intangible cultural heritage can be protected by industrialization and how to successfully implement industrial protection has been widely discussed in theoretical circles.
This paper, taking Hengshui Jizhong interior painting as an example, thoroughly analyses its unique cultural and artistic characteristics, and will carry out the study of Hengshui Ji school interior painting to the actual investigation action, with a visit and investigation. Before, the interior painting industry in Hengshui was mostly one family, one village and one shop, lack of scientific planning and no scale effect. Under the impact of the tide of market economy, it is necessary to take the road of industrialization and market operation to transform the intangible cultural heritage into cultural capital. The way to protect and inherit the art of interior painting needs to be explored continuously, and the way of industrialization is a feasible way under the thought of sustainable development. To realize the effective protection of the intangible cultural heritage and give full play to its positive role in the interests of the people, the Ministry of culture and culture selected 35 first batch of national "non remains" projects, Hengshui Xi three interior painting art Co., Ltd. in December 2011 with the Beijing City Rong Bao Zhai, Jiangxi Province Jingdezhen ancient kiln porcelain factory and other famous traditional workers Art is listed as the first batch of production protection demonstration base of national intangible cultural heritage. This is the country's measures to protect non material cultural heritage. Taking Hengshui Hebei School of painting as a typical case, starting with the industrialization value of Hengshui interior painting, this paper analyzes the general situation of Hengshui Jizhong interior painting, the basic status of industrialization management, and the existing situation. In order to explore the defects in the industrial management and protection, analyze the causes of these deficiencies, and put forward some pertinent suggestions for all the problems. The research of this paper is mainly from the following aspects:
The introduction part is the background and significance of the paper, the contents and methods, the innovation of the article; the first chapter of Hengshui interior painting art and its technological characteristics, mainly on the development of internal painting and the analysis of technological characteristics; the second chapter is the analysis of the present situation of the inheritor and industrialization of Hengshui interior painting, respectively, on the internal painting. In the third chapter, the author has made a comprehensive discussion on the deficiency and development of the industrialization of Hengshui interior painting. The third chapter summarizes the seven problems existing in the industrialization of Hengshui's interior painting, and puts forward the seven problems. A good industrial development strategy; the conclusion is a summary of the full text.
The above contents are the main research contents of this subject. We will discuss this with our colleagues.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J2-29

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 龔北芳;;地域文化與文化品牌建設(shè)[J];大慶師范學(xué)院學(xué)報(bào);2007年06期

2 宋暖;;魯派內(nèi)畫(huà)產(chǎn)業(yè)化分析[J];東岳論叢;2011年03期

3 句艷華;;芳心留古 意斗瓶納春秋——京派內(nèi)畫(huà)鼻煙壺傳人姚桂新小記[J];工會(huì)博覽(藝苑版);2007年08期

4 董娜;王競(jìng);;關(guān)于衡水市內(nèi)畫(huà)工藝品的品牌研究[J];經(jīng)營(yíng)管理者;2008年13期

5 史新粉;;習(xí)三內(nèi)畫(huà)文化產(chǎn)業(yè)的產(chǎn)業(yè)鏈研究[J];大舞臺(tái);2012年12期

6 楊伯達(dá);;鼻煙壺:烙上中國(guó)印記的西洋舶來(lái)品[J];東方收藏;2011年03期

7 李娜;王丹鳳;;衡水冀派內(nèi)畫(huà)產(chǎn)業(yè)化現(xiàn)狀與對(duì)策[J];大舞臺(tái);2013年11期

8 王丹鳳;;衡水內(nèi)畫(huà)藝術(shù)賞析[J];短篇小說(shuō)(原創(chuàng)版);2014年17期

9 趙薇;;產(chǎn)業(yè)化與藝術(shù)性矛盾中前進(jìn)的冀派內(nèi)畫(huà)產(chǎn)業(yè)[J];衡水學(xué)院學(xué)報(bào);2008年06期

10 劉晶晶;;藝術(shù)奇葩與無(wú)形資本——談衡水內(nèi)畫(huà)從文化遺產(chǎn)向文化資本的轉(zhuǎn)化[J];衡水學(xué)院學(xué)報(bào);2008年06期

相關(guān)博士學(xué)位論文 前1條

1 趙金虎;衡水內(nèi)畫(huà)及內(nèi)畫(huà)藝人研究[D];中央民族大學(xué);2013年

本文編號(hào)：2140893