【摘要】：蓋爾的藝術能動性理論,在門神、灶神等中國民間藝術中得到了很好的印證。不過,能動性理論并不能完全解釋山東民間藝術的功能。為了進一步理解中國藝術,有必要從中國美學和哲學的角度進行深入探討。我們把藝術理解為觀念的視覺表達,同音字與象征在中國民間藝術中被普遍采用,用以傳達美好寓意。在傳統(tǒng)中國,精英藝術與民間藝術分別由文人與工匠創(chuàng)作,二者判然有別。民國時期,"藝術家"這一概念傳入中國,出現(xiàn)了職業(yè)藝術家。大集體時代,藝術更多被視為集體成果。1978年之后,藝術又與市場關聯(lián)在一起。在非物質文化遺產時代,精英藝術與民間藝術、藝術家與工匠之間的樊籬似乎變得模糊,"藝術"的概念獲得了新的內涵。
[Abstract]:Gale's theory of artistic initiative has been well confirmed in Chinese folk art, such as door god, kitchen god and so on. However, the theory of initiative can not fully explain the function of Shandong folk art. In order to further understand Chinese art, it is necessary to probe into it from the angle of Chinese aesthetics and philosophy. We understand art as the visual expression of ideas. Homonyms and symbols are widely used in Chinese folk art to convey beautiful meanings. In traditional China, elite art and folk art are created by literati and craftsman respectively. During the period of the Republic of China, the concept of "artist" was introduced into China and professional artists appeared. In the age of mass, art was more regarded as a collective achievement. After 1978, art was associated with the market. In the era of intangible cultural heritage, the fences between elite art and folk art, artists and artisans seemed to be blurred, and the concept of "art" gained new connotations.
【作者單位】： 英國科學院;英國杜倫大學人類學系;中國藝術研究院藝術人類學研究所;浙江財經(jīng)大學藝術學院;
【分類號】：J0-05

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1 方鳳婷;林晶晶;;“抽象藝術與中國視角”學術座談會紀要[J];中國美術館;2005年08期

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本文編號：2173767