【摘要】 重视艺术与现实生活的密切联系,是丰子恺审美活动的逻辑起点。面对丰富的民俗生活和民俗事象,丰子恺从多角度、多层面展开民俗审美活动。在物质民俗审美中,丰子恺以对"人间烟火气"的盎然兴致,观察其家乡的衣食住行习俗,捕捉司空见惯的原生态民俗,刻画富于人情味和人情美的民俗生活。在艺术民俗审美中,不仅以玩具与花灯为代表的民间美术和民间工艺品是其民俗审美的重要内容,连日常生活中的叫卖声、小贩的招揽声、打桩的号子声也成了亲切而感人的"自然的音乐",具有丰富的民俗文化价值。在信仰民俗审美中,他关注了家乡的佛道信仰、祖先崇拜及原始的动植物崇拜,通过对节日仪式的审美观照,展现了丰富的民间宗教信仰和原始巫术遗存。更多还原

【Abstract】 Attaching importance to the close relationship between art and reality is the logical point of departure of Feng Zikai’s aesthetic activities. Faced with a rich variety of folk customs and ways,Feng Zikai pursued his aesthetic appreciation of them from multi-angles and on multi-layers. When appreciating the material folk customs,he showed a keen interest in the everyday life of ordinary people,observing the daily habits of his country folks,taking note of pristine ways and customs which often escape an unobservant eye and depicting folk life that is filled with a human touch. When appreciating folk customs of art,he not only studied typical arts and crafts like toys and festive lanterns,but also "the natural music"of crying one’s ware,soliciting customers and chanting while piling that is rich in cultural value. When studying the folk customs of faith,he paid attention to the Buddhist and Taoist faiths of his country folks,their ancestor worship and their primitive worship of animals and plants. Through an aesthetic appreciation of the festive rituals he revealed rich relics of folk religious beliefs and primitive witchcraft.更多还原