语境之下:“艺术界”中的壮族艺术形象  

In the Context: Zhuang Ethnic Artistic Image in the “Art World”

作　　者：李婷婷[1] LI Ting-ting(Student Work Department, Guangxi Science & Technology Normal University, Laibin, Guangxi 545004 China)

机构地区：[1]广西科技师范学院,广西来宾546199

出　　处：《广西科技师范学院学报》2016年第4期10-12,25,共4页Journal of Guangxi Science & Technology Normal University

摘　　要："艺术界"是艺术品成立的外部语言环境,是一件艺术品赖以生存的复杂而庞大的社会体制关系,它被一个社会所暗含的有关文化、艺术的习俗惯例所制约和维系着,拥有着对社会中某物获得艺术品资格的"授予"权力。在广西现代城市公共空间中,以民歌、花山壁画、壮锦、铜鼓、绣球为原型的壮族艺术形象的出现,就是受壮族独特审美文化所制约和维系的"艺术界"授权下的产物,来自过去的传统事物通过权力的被"授权"而获得成为当代艺术品的资格。“art world”is the external language environment established by works of art. It is a piece of art for the survival of a largeand complex system of social relations, it is a society implied and restricted by the cultural and artistic traditions, and it has obtained thequalification awarding something as a work of art. In the public spaces of Guangxi modern cities, folk songs, Huashan mural, brocade,bronze and Hydrangea are all decorated as Zhuang ethnic artistic images, and are restricted by the products of Zhuang nationality uniqueaesthetic culture. They maintain as the contemporary art qualification authorized by the traditional things from the past through the powerof the“authorization”.

关 键 词：“艺术界” 授权 壮族艺术形象 

分 类 号：J607[艺术—音乐]