民间美术代表的是民众,它是民族美术最主要的表现形式之一,民俗民风、意识形态、审美思维等都在民间美术中得到充分体现。古代由于统治阶级和士大夫阶层把持着文化导向和定位,造成了对民间美术的轻视与理论阐述上的薄弱。十九世纪末,伴随着中国封建社会的解体,在美术发展过程中民间美术也逐渐得到了重视,并且为我国美术的发展提供了不少可贵的审美精神内涵和语言范式。尤其近些年,人们从民间美术中发掘出了很多宝贵的东西,但同时也存在着由于缺乏对其全面分析研究而出现了肤浅的“借鉴”现象。本文试图进行较为深入的探析,分析蕴藏于民间艺术背后的华夏文明的一些基本理念要素及其历史嬗变的趋势,以便引起进一步的讨论。 一、入世的超越 在谈到宗教与我国民间传统美术时,我们认为宗教的基本概念在民间美术中的含意与它固有的本意有一定区别,可以清楚地看到宗教性在这里的极大转变色彩。民间美术与宗教紧密联结,也可以说是在宗教做为杠杆的支撑下发展的,但民间美术的宗教属性却只是借助了宗教意念重新对现实的一种认定。这种认定包含着对生活的充分肯定和对美好愿望的追求,以及内心情结的表述和对自然抗争的实用功能上,因而它与宗教本身追求来世,或是厌世避俗是完全不同的。如“门 Folk art represents the people, it is one of the most important manifestations of national art, folk customs, ideology, aesthetic thinking and so on are fully reflected in folk art. In the ancient times, because the ruling class and the scholar-officials took the cultural orientation and orientation, they caused the contempt for folk art and the weakness of the theory. At the end of the nineteenth century, along with the disintegration of Chinese feudal society, folk art has also been given more and more attention in the process of the development of fine arts. It has provided many valuable aesthetic connotations and language paradigms for the development of Chinese art. Especially in recent years, people have discovered many precious things from the folk art, but at the same time they also have the superficial “reference” phenomenon due to the lack of comprehensive analysis on them. This paper attempts to conduct a more in-depth analysis, analysis of some of the basic idea elements hidden in the folk arts behind the Chinese civilization and its historical evolution trend in order to arouse further discussion. I. Transcendence of Accession to the WTO When it comes to religion and the traditional folk arts in our country, we think that the basic concepts of religion in folk art are different from their original intentions, and we can clearly see the great change in religion here color. The close connection between folk art and religion can also be said to have developed under the support of religion as a lever. However, the religious attribute of folk art has only relied on the religious idea to re-establish the reality. This recognition includes the full affirmation of life and the pursuit of good wishes, as well as the expression of inner complexation and the practical function of nature’s struggle. Therefore, it is entirely different from the religious pursuit of the afterlife or the practice of worldly hatred. Such as "door