【作者】 王文杰；

【导师】 解永钧；

【作者基本信息】 河北大学 ， 艺术学， 2004， 硕士

【摘要】 民艺的造型，与其与生俱来便有自己的特质一样，具有许多诸如意象原型、历史背景、文化资质、生存环境、题材事项、主题思想、创作技法等方面的独特品质所决定的章法。尤其是在对比东西方文化图式寻求差异时，我们有必要透过那异常纷繁的，由文化氛围的不同而造成的技艺差异、风格差异、艺术形式差异，认识和把握艺术造型中那些更为本质的法则。这类法则是民间艺术的文化秩序，他们已超出了一般艺术技法和架构形式和范围。我们从中所寻找的便是民艺的一种文化精神，一种内在理性，一种属于形而上的美学意象和创造逻辑。 作为现代性构成的有机组成部分，民艺在美学与艺术领域对人的灵性、本能与情感需求的强调，实际上，既是从感性生命的角度对人的“主体性”的直接肯定，又包含着对现代科技文明与理性进步观念的怀疑乃至否定。就它从感性出发对主体性的捍卫这个意义上来说，它是现代性自身认同的力量；就它以感性原则来反抗理性化所带来的弊端的这个意义上说，民艺的审美又是现代性这个统一体中的异己力量。 第一章主要讲述民间工艺文化中造物(设计)的形式美。通过对民间造物工艺中点、线、面的运用及其意味、民艺造物的淡雅的色彩传统、丰富的色彩象征、奇妙的色彩语言及其色彩的传统表征、设色的具体联想、设色的抽象联想的阐释，揭示了民间艺术的造型中的文化图式问题，体现在艺术创作的各个环节以及艺术作品的各个方面。民间艺术作为一种观念的造型艺术、象征艺术、意象艺术，它们直接从文化的传统精神，价值理念出发；其主题部分是写意而不是写实的，是写心的而不是写物的。因而在民间艺术中，文化理念与意象构制的关系以及意象变为艺术形象的关系，是一个很重要的问题，弄清这个问题，才能从根本上弄清民间艺术造型的文化图式，才能把握作品的文化理念和精神内涵，才能从文化内涵与艺术审美的交汇点处理解作品本身。 第二章主要讲述劳作(设计)之美与民艺的审美现代性。首先以实践论美学的观点对劳作(设计)之美进行阐述，说明民艺的审美不同于其它艺术，是物质的实用性与精神的审美功利性相统一的审美创造，表现出来的是一种纯粹而自由的造型规律。进而从艺术个性的张扬与民间艺术的多样性、民间艺术的生命力——物质世界与精神家园、民族归属感与民间艺术的关系方面解释了民间艺术与当代艺术及社会发展的关系。从而引发了民艺的审美现代性问题——在整个民族的现代性进程中，对审美的的强调，一方面体现了中国知识人企图以审美的原则重新勘定生活世界存在标准的愿望，另一方面它也在现代性话语本身之中没定了一个很有意义的对照性的话语系统。当更多的知识人在谈论如何通过现代科学、现代政治与法律，以及现代经济操作方式来使中国走向现代化的时候，还要有一批人文知识分子从自身的知识系统出发，来思考现代性进程中中国人感性个体精神样态的问题。更多还原

【Abstract】 This dissertation purports to focus on the aesthetic modernity from demiurgic art and the folk arts and crafts through tracing the formal beauty.The fashion of folk arts and crafts has its orderly ways determined by its special born character, for example the imago prototype, history background, culture aptitude, subsistence environment, subject matter, skill of invention, etc. Especially when we are seeking for the difference between eastern and western culture pattern in order to understand the even more essential principle of plastic arts, looking through the numerous and complicated diversity to find the difference in skill, style and form which are determined by culture atmosphere seemed very important. These kinds of principles are the culture orders of the folk arts and crafts and they have beyond the common art skill, frame or range. What we are looking for is a sort of culture spirit, a sort of inner nous, a superorganic aesthetic imago and a creative logic.The folk arts and crafts, as an organic composing of modernity, has made a stress on human spiritualism, instinct, sensibilities in the field of aesthetics and art, this made a direct affirmation to the human subjectivity from the view of life sensibility, withal, it include suspicions even negative to the modern science and technology civilization and progressing concept of nous. From the meaning of defending the human subjectivity on geist, the folk arts and crafts’ aesthetic modernity is the power of modernity’s self-identity; from the meaning of resisting the abuse of the rational part by geist principle, it is a dissident power in the entia of modernity.In Chapter 1, the paper tries to analyze the structure of the formal beauty of the folk arts and crafts. Probing into the visual order of points, lines, sides and colors in the folks handicrafts esthetically, especially from their different manage, unusual structure and their culture connotation, culture backgrounds, thus, perspective its internal art spirit from its art pattern.Chapter 2 expounds the beauty of labor (design) in the view of practical aesthetics; it makes out that the folk arts and crafts is not the same as other art in aesthetics views, it is an aesthetics creation consolidating substance practicability with spiritual aesthetic utility. The chapter also mentioned the relation between the folk arts and crafts, the up-to-date art and the society progress, thereby coming the aesthetic modernity of the folk arts and crafts: when more highbrow talk about send china to the way of aggiornamento by modern science, modern politics, modern jurisprudence and modern economics, there ought to have more and more humanist jump up from their ken to ponder the spirit appearance and condition of the china perceptual individual in the course of modernity.更多还原