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非物质遗产想要被保存下来,其理念和价值观就必须为观众所接受或最好能激发观众的兴趣。对于物质遗产来说,艺术家必须能够获得创作所需的物质材料。一旦材料的来源枯竭,艺术家就不得不停止创作或者另寻他途。遗产的物质方面不自觉地成为了社会关系网络中的一部分,它们在其中被制作、使用和交换,并且传统或许需要改变才能被保存下来。笔者通过后欧洲殖民时期澳大利亚边远地区的原住民艺术史和同山东工艺美术学院合作的关于20世纪山东省民间艺术两个个案的研究来详述上述思考。
Intangible heritage wants to be preserved, its philosophy and values must be accepted by the audience or best to stimulate the audience’s interest. For the material heritage, the artist must have access to the material material needed for his creation. Once the source of the material is depleted, the artist has to stop writing or find another way. The material aspects of the inheritance unconsciously become part of a network of social relations in which they are produced, used, and exchanged, and tradition may need to be changed before it can be preserved. The author elaborates the above thoughts through the study of aboriginal art history in the remote areas of Australia after the European colonial period and two cases of folk art in Shandong Province in the 20th century in cooperation with the Shandong Arts and Crafts Academy.