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任何一项以“艺术”的名义所构建的社会行为,都将成为反映这一时期社会发展的某种视觉依据,而新生事物和原有事物的现代转型共同支撑起新的物质与精神形态,从而匹配时代变化所造就的一切现象。恰如英国社会学家齐格蒙·鲍曼在其《后现代性及其缺憾》中强调:“现在的‘有序化’已经开始等同于过去所谓的‘反常的’东西,等同于划定新界限,以及辨识、隔离新的‘陌生者’。”作为传统手工的一种传承技艺,从刺绣的工艺审美到纤维的肌理特征,全球化的传统民艺的转型,正是由既定
Any social action constructed in the name of “art” will become a kind of visual basis for reflecting the social development in this period, and the modern transformation of new things and original things jointly support the new material and spirit Morphology, so as to match the changes created by the times all the phenomena. Just as the British sociologist Siegman Bowman stressed in his book “Postmodernity and Its Imperfections”: “The present orderliness has begun to equate to the so-called anomalous things of the past, New boundaries, and the identification and isolation of new ’strangers.’ ”As a traditional artisanal handicraft, from the aesthetic process of embroidery to the texture of fibers, the transformation of the global traditional folk art, it is by the established