平遥推光漆器的传承模式变迁

发布时间：2019-01-07 09:55

【摘要】：平遥推光漆器髹饰技艺,是传统漆器四大髹饰技艺之一,在2006年被评为“国家级非物质文化遗产”。以平遥推光漆器为对象的研究成果多集中于图案和技艺方面。本文通过梳理平遥推光漆器的生产模式与传承模式的变迁,探讨引起推光漆器变迁的原因。推光漆器的产生与晋商文化息息相关,不同于传统乡土语境中的手工艺,推光漆器产生之初,主要服务于晋商巨贾,其店铺大多是前店后厂、自产自销的专营模式。从清代发展至今,推光漆器经历了从传统社会的个体生产到计划经济时期的集体生产,最终在推光漆器厂破产以后又回到了个体生产的模式。在此形势之下,推光漆器的内部传承模式也发生了相应的变化。在传统社会中,推光漆器传承的主要模式为师徒传承,依靠老师傅口传心授,师徒之间遵守“赶口磨衣服”的行规。计划经济时期,推光漆器经历了从师徒传承,到工厂传承、集体传承的模式,其中工厂传承为主要模式。工厂传承包含了师徒传承中的“一带一”模式、外出写生训练与讲技术程培训。推光漆器厂的破产标志着漆器正式步入个体生产时期,这个时期的传承模式包括师徒传承和博物馆传承,与传统社会师徒传承不同的是新型的师徒传承在内容和形式上相较于传统模式有所突破。推光漆器传承模式的变迁,反映了传统民间工艺在社会转型时期的变迁。究其原因,其中一方面是国家政治在社会经济层面上的宏观调控主导了这一过程,引起了生产模式,以及传承模式的变迁;另一方面,在传承模式变迁的过程当中,民众同样发挥了自身的主观能动性,尤其是在集体制时期,出现了一段时间的集体传承。国家与民众两者之间的相互影响,共同形成了推光漆器当代的新型师徒传承模式。此外,新型的传统模式同样面临问题,学徒们缺少造型设计方面的知识,传承的经费有限,这些问题都亟待解决。
[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.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J527

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