本文選題：非物質(zhì)文化遺產(chǎn)展示 + 展示空間��； 參考：《中國(guó)藝術(shù)研究院》2013年碩士論文

【摘要】：當(dāng)前,非物質(zhì)文化遺產(chǎn)的保護(hù)與傳承在全國(guó)范圍內(nèi)掀起了一股熱潮。在中央政府的指導(dǎo)和各個(gè)地方政府、民間組織的積極參與下,非物質(zhì)文化遺產(chǎn)作為一個(gè)國(guó)家文化軟實(shí)力的象征,越來越頻繁的出現(xiàn)在大眾的視野之中。 在這種大形勢(shì)下,如何對(duì)現(xiàn)有的非物質(zhì)文化遺產(chǎn)進(jìn)行展示,或者說盡量全面的展示也被越來越多的人進(jìn)行探討,進(jìn)行著各種有益的嘗試。非物質(zhì)文化遺產(chǎn)的展陳及展示勢(shì)必要與博物館、美術(shù)館的展陳方式有所不同。這絕不是單純形式上的要求,而是非物質(zhì)文化遺產(chǎn)本身內(nèi)在屬性的要求——展陳方式必須由一元的靜態(tài)向多元發(fā)展,形態(tài)由封閉向開放發(fā)展,重心由高高在上的展品向觀眾發(fā)展�？傊�,絕不可能是建筑加藏品再加觀眾的單純疊加。 本文著重探討非物質(zhì)文化遺產(chǎn)在展館空間下的展示方法,從非物質(zhì)文化遺產(chǎn)的自身特點(diǎn)出發(fā),比較其與有形文化遺產(chǎn)的展示異同。同時(shí)注意區(qū)別“展示空間中的非物質(zhì)文化遺”與非物質(zhì)文化遺產(chǎn)的異同。提出“情景還原”方式方法,試圖把握非物質(zhì)文化遺產(chǎn)自身的“文脈”。并通過“情景還原”來營(yíng)造出一個(gè)適合其文化語境的展示氛圍�！扒榫斑�原”并不是完全的復(fù)原非物質(zhì)文化遺產(chǎn)所存在的自然景物、文化場(chǎng)所和工藝工序,而是通過對(duì)所展示的非物質(zhì)文化遺產(chǎn)自身特點(diǎn)、富含的文化信息的提煉和梳理來抓住其“神”。從而引發(fā)觀眾情感的參與和豐富的聯(lián)想,在觀眾的精神世界中完成多維度的“情景的還原”。
[Abstract]:At present, the protection and inheritance of intangible cultural heritage has set off a nationwide upsurge. With the guidance of the central government and the active participation of local governments and civil organizations, the intangible cultural heritage, as a symbol of national cultural soft power, appears more and more frequently in the public vision. In this situation, how to display the existing intangible cultural heritage, or as comprehensive as possible, has also been discussed by more and more people, carrying out a variety of beneficial attempts. The exhibition and display of intangible cultural heritage must be different from that of museums and galleries. This is by no means a purely formal requirement, but a requirement of the intrinsic attributes of the intangible cultural heritage itself-the way in which display must be developed from a single static state to a pluralistic one, and the form from a closed to an open one. The center of gravity is developed from the high-rise exhibits to the audience. In short, it is impossible to add buildings and collections plus the simple superposition of the audience. This paper mainly discusses the display method of intangible cultural heritage in the exhibition hall space, and compares its similarities and differences with that of tangible cultural heritage from the point of view of its own characteristics. At the same time, attention should be paid to distinguishing the similarities and differences between the intangible cultural heritage and the intangible cultural heritage in the exhibition space. This paper puts forward the way of "scene reduction" and tries to grasp the "context" of intangible cultural heritage itself. And through the "scene restore" to create a suitable cultural context of its display atmosphere. "scene restoration" is not a complete restoration of the existence of the intangible cultural heritage of natural scenery, cultural sites and technological processes, but through the display of intangible cultural heritage of its own characteristics, Rich in cultural information extraction and combing to seize its "god". Thus causing the audience emotional participation and rich association, in the spirit of the audience to complete the multi-dimensional "restoration of the scene."
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：G122;J124;J525.2

【參考文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 呂品田;動(dòng)手有功[D];中國(guó)藝術(shù)研究院;2003年

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本文編號(hào)：1935334