传统民间美术手工艺作坊的现代传承——从天津“风筝魏”谈起  

The Mode of Handicraft Workshop of Traditional Folk Art Continued in the Present Era: “Kite Wei”in Tianjin and Others

作　　者：孙志虹[1] 

机构地区：[1]天津财经大学艺术学院

出　　处：《天津美术学院学报》2015年第1期80-83,共4页Northern Art:Journal of Tianjin Academy of Fine Arts

基　　金：2011年国家社会科学基金艺术学项目--天津民间美术发展现状的调查与研究论文;项目批准号:11CF106

摘　　要：天津民间美术三绝之一"风筝魏"曾面临着产业化和作坊式两种生产经营理念的分歧。事实证明,采用传统手工艺作坊的生产经营方式更有利于民间美术的保护和传承。尤其对于类似"风筝魏"和"泥人张"这样的民间美术"世家",以父子、夫妻、师徒为主的家庭手工艺作坊更是承袭其工艺品质和艺术风格的最有效保证。＂Kite Wet＇, one of the three unique skills of folk arts and crafts in Tianjin. once faced the choice between two different manufacture and management concepts, that is, industrialization and workshop production. It turns out that adopting the manufacture and management mode of traditional workshops is more beneficial to preserving and inheriting folk art. Especially for such ＂well-known families＂ of folk art as ＂Kite Wei＂ and ＂Clay figurine Zhang＂, family handicraft workshops, in which father and son, husband and wife, and master and apprentice play the leading role, are the most effective guarantees of inheriting their quality and artistic style.

关 键 词：风筝魏 手工艺作坊 生产 经营 

分 类 号：J528.6[艺术—艺术设计]