【摘要】：平遙推光漆器髹飾技藝,是傳統(tǒng)漆器四大髹飾技藝之一,在2006年被評為“國家級非物質(zhì)文化遺產(chǎn)”。以平遙推光漆器為對象的研究成果多集中于圖案和技藝方面。本文通過梳理平遙推光漆器的生產(chǎn)模式與傳承模式的變遷,探討引起推光漆器變遷的原因。推光漆器的產(chǎn)生與晉商文化息息相關(guān),不同于傳統(tǒng)鄉(xiāng)土語境中的手工藝,推光漆器產(chǎn)生之初,主要服務(wù)于晉商巨賈,其店鋪大多是前店后廠、自產(chǎn)自銷的專營模式。從清代發(fā)展至今,推光漆器經(jīng)歷了從傳統(tǒng)社會的個體生產(chǎn)到計劃經(jīng)濟時期的集體生產(chǎn),最終在推光漆器廠破產(chǎn)以后又回到了個體生產(chǎn)的模式。在此形勢之下,推光漆器的內(nèi)部傳承模式也發(fā)生了相應(yīng)的變化。在傳統(tǒng)社會中,推光漆器傳承的主要模式為師徒傳承,依靠老師傅口傳心授,師徒之間遵守“趕口磨衣服”的行規(guī)。計劃經(jīng)濟時期,推光漆器經(jīng)歷了從師徒傳承,到工廠傳承、集體傳承的模式,其中工廠傳承為主要模式。工廠傳承包含了師徒傳承中的“一帶一”模式、外出寫生訓(xùn)練與講技術(shù)程培訓(xùn)。推光漆器廠的破產(chǎn)標(biāo)志著漆器正式步入個體生產(chǎn)時期,這個時期的傳承模式包括師徒傳承和博物館傳承,與傳統(tǒng)社會師徒傳承不同的是新型的師徒傳承在內(nèi)容和形式上相較于傳統(tǒng)模式有所突破。推光漆器傳承模式的變遷,反映了傳統(tǒng)民間工藝在社會轉(zhuǎn)型時期的變遷。究其原因,其中一方面是國家政治在社會經(jīng)濟層面上的宏觀調(diào)控主導(dǎo)了這一過程,引起了生產(chǎn)模式,以及傳承模式的變遷;另一方面,在傳承模式變遷的過程當(dāng)中,民眾同樣發(fā)揮了自身的主觀能動性,尤其是在集體制時期,出現(xiàn)了一段時間的集體傳承。國家與民眾兩者之間的相互影響,共同形成了推光漆器當(dāng)代的新型師徒傳承模式。此外,新型的傳統(tǒng)模式同樣面臨問題,學(xué)徒們?nèi)鄙僭煨驮O(shè)計方面的知識,傳承的經(jīng)費有限,這些問題都亟待解決。
[Abstract]:Pingyao Peiguang lacquer painting technique, one of the four traditional lacquer decoration techniques, was named "National Intangible Cultural Heritage" in 2006. The research results of Pingyao pusher lacquerware focus on patterns and techniques. By combing the changes of production mode and inheritance mode of pusher lacquerware in Pingyao, this paper probes into the causes of the change of pusher lacquerware. The production of the lacquer ware is closely related to the culture of Shanxi merchants, which is different from the handicraft in the traditional local context. At the beginning of the production of the lacquerware, it mainly served the giant Jia of Shanxi merchants, and its shops were mostly the factories behind the former shops and the exclusive mode of producing and selling their own products. Since the development of the Qing Dynasty, the lacquerware has experienced from individual production in the traditional society to collective production in the planned economy period, and finally returned to the mode of individual production after the bankruptcy of the Pu Guang lacquer factory. Under this situation, the internal inheritance mode of pusher lacquerware has also changed accordingly. In the traditional society, the main mode of lacquerware inheritance is the inheritance of teachers and disciples. During the planned economy period, the lacquer ware experienced the mode from the inheritance of teacher and apprentice to the inheritance of factory and collective inheritance, in which factory inheritance was the main mode. Factory heritage includes the "one belt" mode in the inheritance of teachers and disciples. The bankruptcy of the Peiguang lacquer factory marks the official entry of the lacquer ware into the period of individual production. The inheritance mode of this period includes the inheritance of teachers and disciples and the inheritance of museums. Different from the traditional society, the new inheritance of teacher and disciple has a breakthrough in content and form compared with the traditional mode. The change of inheritance mode of lacquerware reflects the change of traditional folk craft in the period of social transformation. On the one hand, the macro-control of national politics on the social and economic level dominates the process, which leads to the change of production mode and inheritance mode. On the other hand, in the process of the change of inheritance mode, people also play their own subjective initiative, especially in the period of collective system, there has been a period of collective inheritance. The interaction between the state and the people forms a new mode of teacher and disciple inheritance. In addition, the new traditional model also faces problems, apprentices lack the knowledge of modeling design, inheritance of limited funds, these problems need to be solved.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J527

【參考文獻】

相關(guān)期刊論文 前10條

1 張士閃;;眼光向下:新時期中國藝術(shù)學(xué)的“田野轉(zhuǎn)向”——以藝術(shù)民俗學(xué)為核心的考察[J];民族藝術(shù);2015年01期

2 蔡磊;;日常生活、共同體與民間手工技藝傳承——一個華北手工專業(yè)村的考察[J];中南民族大學(xué)學(xué)報(人文社會科學(xué)版);2014年05期

3 郭于華;黃斌歡;;世界工廠的“中國特色” 新時期工人狀況的社會學(xué)鳥瞰[J];社會;2014年04期

4 張錦;;傳承有序 耕耘輝煌[J];中國生漆;2014年02期

5 張錦;;平遙漆壇名師[J];中國生漆;2014年01期

6 薛生金;;古城中的推光漆器[J];科學(xué)之友(上旬);2010年12期

7 黃靜華;;手藝人民俗志:聚焦“非物質(zhì)性”的工藝民俗研究[J];思想戰(zhàn)線;2010年05期

8 董曉萍;藍克利;;現(xiàn)代商業(yè)的社會史研究:北京成文厚(1942-1952)[J];北京師范大學(xué)學(xué)報(社會科學(xué)版);2010年02期

9 張士閃;鄧霞;;當(dāng)代民間工藝的語境認(rèn)知與生態(tài)保護——以山東惠民河南張泥玩具為個案[J];山東社會科學(xué);2010年01期

10 耿波;;當(dāng)代藝術(shù)民俗學(xué)發(fā)展的城市化語境[J];民族藝術(shù);2009年02期

相關(guān)博士學(xué)位論文 前1條

1 殷俊玲;盛世繁華[D];山西大學(xué);2005年

相關(guān)碩士學(xué)位論文 前5條

1 錢勵娟;關(guān)于平遙漆器紋樣傳承與創(chuàng)新的研究[D];沈陽師范大學(xué);2015年

2 蔣易澄;母親的故事：一個下崗女工的社會互動和自我建構(gòu)[D];云南大學(xué);2014年

3 康延;平遙漆器產(chǎn)業(yè)現(xiàn)狀研究[D];北京服裝學(xué)院;2012年

4 李萍;現(xiàn)代民用家具造型設(shè)計的變化與發(fā)展趨勢研究[D];東北林業(yè)大學(xué);2012年

5 劉志平;商業(yè)發(fā)展影響下的明清平遙城建設(shè)[D];陜西師范大學(xué);2007年

，

本文編號：2403521