【摘要】：苗族銀飾成為國家級非物質(zhì)文化遺產(chǎn)項目,以湘西與黔東南苗族的銀飾制作加工工藝為代表。隨著改革開放以來發(fā)生的社會變遷,這兩個地區(qū)銀飾工藝的保護和傳承表現(xiàn)出"本土自覺中的文化保護"與"政府推動下的文化保護"兩種模式。由銀匠的生存境況與當(dāng)?shù)厝说你y飾觀念構(gòu)成的文化生態(tài)是促成這兩種模式的原因。而文化生態(tài)受制于特定地區(qū)的社會歷史條件,結(jié)合特定的社會歷史條件來思考如何在不同的文化生態(tài)環(huán)境中進行銀飾工藝保護,可以為我國非物質(zhì)文化遺產(chǎn)的保護提供新的思路。
[Abstract]:Miao silver jewelry has become a national intangible cultural heritage project, represented by the silver ornaments of Xiangxi and Qiandongnan Miao nationality. With the social changes since the reform and opening up, the protection and inheritance of silver ornaments in these two regions show the two modes of "cultural protection in local consciousness" and "cultural protection promoted by the government". The cultural ecology composed of the silversmith's living condition and the local silver ornaments is the reason for these two models. However, cultural ecology is subject to the social and historical conditions of a specific region, and how to protect silver ornaments in different cultural and ecological environments is considered in combination with specific social and historical conditions. It can provide new ideas for the protection of intangible cultural heritage in China.
【作者單位】： 中南民族大學(xué)民族學(xué)與社會學(xué)學(xué)院;
【基金】：中央高�；究蒲袠I(yè)務(wù)費專項資金項目“黔東南苗族銀飾手工藝人的代際傳承調(diào)查研究——以黔東南臺江縣施洞鎮(zhèn)為例”(項目編號:CSQ17004)
【分類號】：C95

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