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问题的三个侧面作为民艺的现代课题,可从以下三个侧面来考虑.一、制作民艺的环境;二、我们使用民艺的需要,由此可知制作者和使用者之间的关系既是对应的,又是相互关联的;三、民艺、工艺和艺术,艺人和作家的区别及创造的品质.无论是哪个课题,都将与印度的拉贾斯坦邦作对比,同时也将研究我们的现状.民艺作者的文化环境印度拉贾斯坦邦的工艺、金工、木工及陶器等在技术上并不复杂,手工业使用的工具也很简单.在这里,简单的技术得到充分的运用,并在作品上完美地得以体现,由此看来,技术和方法有时是成反比例的.在世袭职业者当中,孩子们从小起就把父母亲的制作过程看在眼里,有时帮着一起做,因而很早就学习并记住了必要的技法.年青时就掌握了高超的技术,这样就能继承父亲的职业.
As the modern subject of folk art, the three sides of the question can be considered from the following three aspects: First, the environment for making folk art; Second, we use the need of folk art to know the relationship between producer and user Third, the difference between folk art, craft and art, artiste and writer, and the quality of creation, no matter which one is to be compared with that of Rajasthan in India, Our current situation Cultural environment of Civic Authors Craft, metalwork, carpentry and pottery in Rajasthan, India is not technically complex, and the tools used in the handicraft industry are also very simple. Here simple techniques are fully utilized, From this, techniques and methods are sometimes inversely proportional, and among hereditary practitioners, children have looked at the process of parenting since childhood and sometimes helped to do it together , So very early to learn and remember the necessary skills. Young mastered superb technology, so you can inherit his father’s profession.