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工艺美术的理论思维如果不摆脱那种习惯的狭隘性和封闭性,是不可能走向真正的理性与科学的。比如,把工艺美术仅仅看作是换汇的“摇钱树”,是一种狭隘;将工艺美术仅仅看作是一堆装饰“纹样”,也是一种狭隘;将工艺美术的社会价值无限制地夸大,则又是另一种形式的狭隘。这种似乎难以摆脱的狭隘和偏颇,来自于未能从社会生活的整体构架中寻得工艺美术的准确位置,在于未能从工艺美术自身的一“点”,去和人文科学的各个领域进行比较研究。比较研究的结果,产生了“工艺文化”的概念。工艺文化概念的本质,是把对“人”研究的重要性放到了对“物”的研究之上。
The theoretical thinking of arts and crafts can not move toward real reason and science without breaking the narrowness and the closedness of that habit. For example, treating arts and crafts as a “cash cow” for currency exchange is a narrow one; treating arts and crafts as merely a pile of ornamental “patterns” is also a narrow one; exaggerating the social value of arts and crafts without any restrictions , Then another form of narrow. The seemingly intractable narrowness and biasedness stem from the failure to find the exact position of arts and crafts from the overall framework of social life and failure to take a “point” of arts and crafts in all fields of the humanities compare research. A comparative study of the results produced a “craft culture” concept. The essence of the concept of craft culture is to place the importance of “human” research on the study of “things.”