展馆空间中非物质文化遗产展示的“情景还原”

发布时间：2018-05-26 01:01

本文选题：非物质文化遗产展示 + 展示空间　；参考：《中国艺术研究院》2013年硕士论文

【摘要】：当前,非物质文化遗产的保护与传承在全国范围内掀起了一股热潮。在中央政府的指导和各个地方政府、民间组织的积极参与下,非物质文化遗产作为一个国家文化软实力的象征,越来越频繁的出现在大众的视野之中。在这种大形势下,如何对现有的非物质文化遗产进行展示,或者说尽量全面的展示也被越来越多的人进行探讨,进行着各种有益的尝试。非物质文化遗产的展陈及展示势必要与博物馆、美术馆的展陈方式有所不同。这绝不是单纯形式上的要求,而是非物质文化遗产本身内在属性的要求——展陈方式必须由一元的静态向多元发展,形态由封闭向开放发展,重心由高高在上的展品向观众发展。总之,绝不可能是建筑加藏品再加观众的单纯叠加。本文着重探讨非物质文化遗产在展馆空间下的展示方法,从非物质文化遗产的自身特点出发,比较其与有形文化遗产的展示异同。同时注意区别“展示空间中的非物质文化遗”与非物质文化遗产的异同。提出“情景还原”方式方法,试图把握非物质文化遗产自身的“文脉”。并通过“情景还原”来营造出一个适合其文化语境的展示氛围。“情景还原”并不是完全的复原非物质文化遗产所存在的自然景物、文化场所和工艺工序,而是通过对所展示的非物质文化遗产自身特点、富含的文化信息的提炼和梳理来抓住其“神”。从而引发观众情感的参与和丰富的联想,在观众的精神世界中完成多维度的“情景的还原”。
[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."
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：G122;J124;J525.2

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