论大众漆器的道具身份  

On the Props Identity of the Popular Lacquer Ware

作　　者：张培枫[1] Zhang Peifeng(School of Communication,Fujian Normal University,Fuzhou 350117,China)

机构地区：[1]福建师范大学传播学院

出　　处：《艺术与设计（理论版）》2019年第12期119-121,共3页Art and Design

基　　金：国家社科基金青年项目“海峡两岸文化创意产业合作研究”(编号：13CXW056);福建省教育厅A类项目《海峡两岸漆艺产业合作创新研究》(编号：JAS14107)阶段性研究成果

摘　　要：在非遗和文创的背景下,我国漆器主要作为文化符号被消费。文章针对大众漆器最主要的线上销售平台淘宝,进行商品名的分词和共词分析,由此可知数量最大的漆盒是婚庆道具,不同地区的物化程度不同,数量其次的漆屏风为外事活动礼物。所有大众漆器作为道具呈现出在特定场合使用、图式一致化、性价比高等特征。道具的身份是漆器作为文化符号的物化,对非遗活化有负面意义。Under the background of non-relics and literary creation, lacquerware in China is consumed as a cultural symbol. According to Taobao.com, the main online sales platform of popular lacquerware, the article analyses the participle and Co-word of commodity names, and concludes that the largest number of lacquer boxes are wedding props, and the second largest number of lacquer screens are gifts for foreign affairs activities. As props, all popular lacquerware exhibits the characteristics of special occasions, consistent schema and high cost performance. The identity of props is the materialization of lacquerware as a cultural symbol, which has negative significance for nonlegacy activation.

关 键 词：文化符号 漆器 道具 

分 类 号：J527[艺术—艺术设计] J50