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走向民间的道路布满荆棘。在重新认识、评价民间工艺的历程上,接连不断出现新的矛盾和问题。当尚未找到解决的办法时,研究工作就陷入了困顿。这里集录的几项疑难论点,希冀引起讨论;抑或有助于民间工艺研究工作的展开和理论思维的活跃。基本概念问题按照约定俗成的认识,“民间工艺”是“民间工艺美术”的略称。这一概念正越来越广泛地流行于各个领域。表面看来十分熟悉明晰,仔细分析却显露出陌生和模糊,理解和运用这一概念时的随意性和盲目性即是证明。美术界、工艺美术界、理论界、工业界、商业界都从不同角度,用不尽相同的标准对“民间工艺”做出各种解释和限定,并在使用时各行其是。某一品种在此处被划入“民间工艺”范围之内,在彼处却又被排斥在外;甲自以为在从事民间工艺的生产与研究,乙和丙却否定了这一事实。
The road to civilians is full of thorns. In the process of re-understanding and evaluation of folk craftsmanship, new contradictions and problems continue to emerge one after another. Research has been stranded when no solution has yet been found. Here are a few difficult arguments collected, hoping to arouse discussion; or contribute to the development of folk craft research and active theoretical thinking. The basic concept of the problem According to common understanding, “folk craft” is “folk arts and crafts” abbreviation. This concept is becoming more and more popular in all fields. It seems to be very familiar and clear on the surface, careful analysis reveals strangeness and vagueness, that is to say, the randomness and blindness in understanding and using this concept. The arts, arts and crafts, theorists, industry and commerce all use different standards to make various interpretations and restrictions on “folk crafts” from different perspectives, and use them whenever and wherever possible. A variety here is classified as “folk craft” within the scope of, but was excluded from the other; A think that engaged in the production and research of folk art, B and C but denied the fact.