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研究民间美术的审美观,鲜有从民间美术“图式话语”角度切入的思考。笔者在对庆阳香包的观察分析中发现,“图式话语”不仅对于审美意识的生成具有先导的特别作用,同时它也是民间美术共有的审美特征的一个侧面。
There is little reflection on the aesthetic view of folk art from the angle of folk art “graphic discourse ”. In the observation and analysis of Qingyang sachet, the author discovers that “schematized discourse” not only plays a special and leading role in the formation of aesthetic awareness, but it is also one aspect of the common aesthetic features of folk art.