对中国广大的农民来说,手艺是其经济生活的重要补充,“男耕女织”、“晴耕雨织”是传统中国社会的普遍现象,包括民间美术在内的家庭副业与农业生产一样,是个体小生产者和农业经营者同时兼顾的。在中国自然经济的模式中,手艺也成为一部分农民的生存途径。我国手工艺与农业、商业的关系密切,土地稀缺的乡村,从事农业的人们多改为做手艺,避免因土地而产生的剩余劳动力,使依赖农业为生的人们谋求另一条生存途径。所谓的“百工之乡”的地方,几乎都是人多地少的状况,对于讲究地缘与人情关系的社会,同一地域的人们形成了相互帮扶,共同摆脱贫穷的习惯,当某个群体集体从事同一项手艺,就会逐渐衍生发展出具有地域特色的民间美术品种。 For the vast majority of peasants in China, craftsmanship is an important complement to their economic life. “Men and women weavers,” “Harvesting rain and weaving,” are a common phenomenon in traditional Chinese society. Family sidelines, including folk art, Just like agricultural production, small producers and agricultural operators consider both. In the model of China’s natural economy, craft has also become a way of life for some peasants. China’s handicrafts are closely related to agriculture and commerce. In rural areas with scarce land and people engaged in agriculture, many people change their workmanship to avoid the surplus labor force resulting from the land, so that people who depend on agriculture for their livelihood will seek another way of living. Almost all of the so-called “township of hundred workmanship” are places where people are less and less. For those societies that pay attention to the relationship between geography and human relations, people in the same area form a habit of helping each other and getting rid of poverty together. When a A group of collective engaged in the same craft, it will gradually derived from the development of regional art folk art varieties.