徽州的精神气候:明清三雕艺术的社会语境探析  

The Spiritual Climate of Huizhou:An Analysis of the Social Context of the Three Carving Arts in the Ming and Qing Dynasties

作　　者：王永虎[1] 杨广红[1] WANG Yong-hu;YANG Guang-hong(School of Fine Arts and Design,Chaohu University,Chaohu Anhui 238024)

机构地区：[1]巢湖学院美术与设计学院,安徽巢湖238024

出　　处：《巢湖学院学报》2024年第5期81-86,共6页Journal of Chaohu University

基　　金：安徽省高校哲学社会科学研究重点项目(项目编号:2023AH052082)。

摘　　要：徽州三雕艺术是在特定社会语境中由人们精神需求所物化的艺术形态,与徽州独特的精神气候和社会环境密切相关。它集中展现了明清时期徽州地区经济、文化、社会发展的诸多方面,蕴含着心物交融的审美意涵和与时俱进的文化认同,多维度地展现了明清时期徽州地区的物质文化,呈现出丰富多彩的魅力。通过语境分析,能够深入探究徽州的精神气候和明清三雕艺术形成的社会语境,清晰窥见历史深处的时代特征。这有助于揭示社会语境对艺术的影响机制,对当前中国优秀传统文化的传承和传播具有积极意义。The three carving arts of Huizhou represent an artistic form materialized from the spiritual needs of people within a specific social context and are closely tied to Huizhou′s distinctive spiritual climate and social environment.These arts reflect various aspects of the economic,cultural,and social development of the Huizhou region during the Ming and Qing dynasties.They embody a fusion of mind and matter and a cultural identity that evolves with the times.In addition,they offer a multidimensional display of the material culture of Huizhou during the Ming and Qing Dynasties,showcasing its vibrant appeal.Through an analysis of their context,we can delve deeply into the spiritual climate of Huizhou and the social context in which the three carving arts were formed,providing a clearer understanding of the historical characteristics rooted in that era.This exploration not only sheds light on the mechanisms through which social contexts influence art but also holds positive significance for the preservation and promotion of China′s outstanding traditional culture.

关 键 词：徽州 精神气候 三雕艺术 社会语境 

分 类 号：J314[艺术—美术]