后工业时代手工艺文化的审美重构及其实践路径  

The Aesthetic Reconstruction of Handicraft Culture in the Post-industrial Era and the Practice Path

作　　者：张娜 Zhang Na

机构地区：[1]南京农业大学人文与社会发展学院 [2]南京农业大学民俗学研究所

出　　处：《江苏社会科学》2020年第5期159-168,239,共11页Jiangsu Social Sciences

基　　金：2018年度教育部哲学社会科学研究重大课题攻关项目“非物质文化遗产美学研究”(18JZD019);2020年度江苏省高校哲学社会科学研究一般项目“后工业时代手工艺文化传统重构路径研究”;2020年度中央高校基本科研业务经费人文社科基金“后工业时代手工艺文化传统重构路径研究”(SKYC2020014)阶段性成果。

摘　　要：自进入工业社会后,传统手工艺遭遇了作为日用品的功能衰退与作为审美艺术品的发展乏力的"双重危机"。后工业社会盛行的空间性、消费性的文化形态,消解了传统与现代的对立性,使得传统手工艺成为文化消费的对象,得以进入当下文化语境并参与构建文化生态关系。在作为审美资本主义时期的后工业时代,传统手工艺不仅是一种文化资源,更是一种审美生产力,因此要以"审美"为中心重构手工艺文化,发展手工艺审美创意经济,打造体验型手工艺文化产业。同时,也要重构消费主体与生产主体,培育手工艺文化主体性,加强对民众的手工艺文化与非遗美学教育,增强审美认同,提高从业人员基数与质量,为手工艺文化创意产业储备人才。Since the turn of the industrial society,traditional handicrafts have encountered "double crises" of both their functional decline as daily necessities and their weak development as aesthetic works of art.The prevalent spatial and consumer cultural forms in the post-industrial society dissolve the opposition between tradition and modernity,enabling traditional handicrafts as the object of cultural consumption to enter the current cultural context and participate in the construction of cultural ecological relationships.In the post-industrial era as the period of aesthetic capitalism,traditional handicrafts are not only cultural resources but also aesthetic productivity.Therefore,it is necessary to reconstruct the handicraft culture centering on "aesthetics",develop the handicraft aesthetic creative economy and create an experience-based handicraft culture industry.At the same time,it is necessary to reconstruct the main body of consumption and production,cultivate the subjectivity of handicraft culture,strengthen the people’ s aesthetic education on handicraft culture and intangible cultural heritage,enhance aesthetic identity,improve the base and quality of employees,and build the talent pool for handicraft cultural creative industries.

关 键 词：后工业时代 手工艺文化 审美资本主义 手工艺审美教育 

分 类 号：J505[艺术—艺术设计]