(2.6.3)--2.3CurrentIssuesandReflectionson.pdf

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1、Current Issues and Reflections on Traditional Arts and Crafts Abstract:Historically,the work of handicraftsmen has had a great deal to do with the development of society:traditional handicrafts and arts and crafts can lead the fashion of society and can influence the quality of life.With the develop

2、ment of society,peoples lifestyles have undergone fundamental changes,and most traditional arts and crafts are no longer necessary for social life.However,the traditional handicraft and arts and crafts industry is not only an industry that meets the needs of life,but also carries the burden of tradi

3、tional culture.In the current period of transition,practitioners of traditional crafts and arts and crafts are faced with many specific issues:the concept of craft and fine arts;the boundaries between tradition and innovation;the characteristics of culture and industry,etc.that need to be taken seri

4、ously.Keywords:arts and crafts;traditional crafts;craftsmen;knowledge system How a craftsman should go about his life in this day and age is a big question.In the pre-industrial period,the work of craftsmen had a great deal to do with the development of society:traditional handicrafts and arts and c

5、rafts were the main factors in the formation of traditional material culture throughout history,as they led to social trends and influenced the quality of life.With the development of society,peoples lifestyles have undergone fundamental changes,and most traditional arts and crafts are no longer nec

6、essary for peoples social life.However,the traditional handicraft and arts and crafts industry is not only an industry that meets the needs of life,but also carries the heavy burden of traditional culture.There are many more important things to do for art and craft practitioners than simply looking

7、at their craft as a means to earn money.I.Craft and fine arts Nowadays,the traditional arts and crafts industry and related professions in higher education are increasingly marginalized.The reasons for this are manifold and worthy of study and reflection.Although arts and crafts is an ambiguous conc

8、ept,since the 1950s,arts and crafts have been one of the main majors in art colleges and universities and have provided a large number of talents to the arts and crafts industry over the decades.Since the restructuring of the professional catalogues of universities and colleges in 1998,a profession

9、named Design with the new term Design has replaced the profession of Arts and Crafts,and in more than a decade has made great progress,and the number of students enrolled in the design profession now reaches nearly one million.At present,most of the schools that can be named after arts and crafts ar

10、e vocational technical colleges of arts and crafts that have been upgraded from the former secondary specialized technical schools of arts and crafts.In such vocational and technical colleges,the content of their teaching is very little in the arts and crafts,and in some cases only a small number of

11、 courses are maintained.The Academy of Fine Arts of Tsinghua University(formerly the Central Academy of Arts and Crafts)retains only one department,called the Department of Arts and Crafts.However,its teaching is mainly modern and new crafts,and its goal is to train artists who can work with new mea

12、ns of craftsmanship.What they advocate is to process works by hand,using a variety of techniques,so it is called the Faculty of Arts and Crafts.Such an arts and crafts department does not have much to do with arts and crafts in the traditional sense.It is most remarkable that craftsmen create life w

13、ith their own hands.Throughout the history of the development of material culture,especially in the pre-industrial period,handicrafts were the dominant productive activity.That is to say:all of lifes needs are accomplished through craftsmanship,as has been demonstrated by much literature and archaeo

14、logical material.Handcrafted products were familiar in ancient social life and need not be specifically studied or discussed,there are many things that will stay with people throughout their lives and even benefit generations,such as porcelain,woodwork,etc.After hundreds and thousands of years,the m

15、akers are long gone,but things have been passed down to the present day and still play a role in contemporary social life.Craftsmen of ancient and modern times are credited with making history,creating life,creating culture,etc.It is often said nowadays that the role of traditional arts and crafts i

16、s to beautify and enrich life.Actually,its more important to create life.Traditional arts and crafts have always been a part of peoples daily lives,and their role is enormous.The creative act and its aesthetic interest have become an important part of traditional culture and have played a role in ed

17、ucating people in their daily lives.In the past,people were so familiar with traditional crafts used in everyday life that they could be said to have turned a blind eye to them.However,it is in everyday life that one unconsciously accepts the concept of objectification,aesthetic standards,and also t

18、he knowledge of the materials,techniques,and forms used in production.It can be seen that the role of traditional arts and crafts as a cultural tradition is enormous.From the whole history of material culture development,traditional arts and crafts are only a small part of the vast sea of traditiona

19、l handicraft products with aesthetic significance.When looking at the literature from several decades ago,there is a common term called fine arts and crafts,which has been used for about 60 years and was still in use in the 1950s.Artistic craft is a compound noun,a partial orthographic phrase,consis

20、ting of the nouns fine art and craft.It is possible to compare the term fine arts and crafts with the term arts and crafts used later,but what is the difference?In fact,the difference in the content of the two nouns is already evident from the order in which they are arranged,namely art and craft.Th

21、e question is whether the focus of the object is on art or craft.The term artistic craftsmanship has been used for a long time,and the way it is constructed is another testament to the rigour and meticulousness of their forefathers thinking.The use of art to qualify craft as an oblique phrase is in

22、line with the development of traditional crafts and their own state.From the point of view of traditional material culture research,a considerable part of the large number of handicrafts circulated throughout history are of aesthetic significance,that is,handicrafts with artistic forms.Today,this pa

23、rt of the handicraft is called arts and crafts,and was once called specialty crafts.In recent times,many practitioners of traditional arts and crafts are uneducated or have not received national education or formal training and education,but are eager to learn new things,and they have great respect

24、for professional artists and teachers of art academies.In the early 1950s,the State sent folk craftsmen to schools for further studies in order to improve the level of creation and development of traditional arts and crafts.This led to the formation of a system of teaching arts and crafts centered o

25、n sketching,color and pattern.At the time,such a teaching system was compatible with reality.Because the participants have a wealth of practical experience,they are here to supplement their knowledge.Thus,such a teaching system continues together.At that time,students recruited from secondary school

26、s without craft practice were also using this system of instruction.As time goes on the problem arises,these students who have no handicraft practice have little knowledge of traditional handicrafts,and their daily learning is specialized skills such as sketching,coloring and modeling.Although study

27、ing in the arts and crafts,the values and evaluation criteria come from the arts.Over the decades,a culture of art has developed where all people want to be artists,and all criteria are evaluated according to art.Its hilarious.What are the evaluation criteria for arts and crafts?So far it has not be

28、en established,and no one has thought about it.In fact,each art form should have its own evaluation system and evaluation criteria.There is no point in making a work look like a work of art through the means of craftsmanship without its own evaluation criteria.The arts and crafts should have evaluat

29、ion criteria that are in line with their own laws.In the most fundamental sense,arts and crafts are the products of traditional crafts that have a tendency to be artistic.It comes down to handicrafts.The craftsmanship of a handicraft is determined by the material.The traditional concept of handicraf

30、t is the process and result of applying some means(or multiple means)to a material(or materials)by manual labor to change its form.The key words here are material,process and form.Engaging in traditional craftsmanship,the most important thing is to study the material.The issue of materials is arguab

31、ly the first issue that needs to be addressed in traditional craftsmanship.Only with an accurate understanding of the material and its characteristics can we use our skills to handle the material and change its form with accurate technology.In this way,materials,workmanship,and form are also importa

32、nt bases for the establishment of traditional handicraft evaluation criteria.Traditional handicrafts need to establish their own evaluation criteria and build their own theoretical system and technical system,which requires long-term efforts.Therefore,it is necessary to advocate in-depth research on

33、 whether one has a completely accurate understanding of the materials when engaging in traditional handicrafts;whether one is able to complete the craft with ease;whether one has a set of standards for craft techniques,rather than standards for fine arts.The clarification of these issues involves th

34、e establishment of self-confidence in traditional craftsmanship and the future direction of development.II.Tradition and innovation Innovation has been one of the buzzwords in society in recent years,becoming trendy because its often put on the lips.Of course,the idea of innovation is good,especiall

35、y in the field of science and technology,where innovation has become a sign of whether the cause is alive or not.However,the question of how to implement innovation in the field of traditional handicrafts is a big one.In a traditional handicraft business with thousands of years of tradition and a de

36、ep cultural heritage,it is not a simple matter to inherit tradition.Innovation can only take place on an inherited basis.Innovations that completely leave tradition behind are bound to go wrong.Several years ago,there was a discussion about the inheritance and development of Qin Huai lanterns.The Qi

37、nghuai lanterns in Nanjing have a history of more than 1,000 years,and their styles are mainly modeled lanterns.According to existing records,they were mainly exhibited in the Da Zhuanen Temple,Pingsi Street and the Fu Zi Temple during the Ming and Qing Dynasties.In the Ming Dynasty there were over

38、200,in the Qing Dynasty there were over 140,and now there are only 20.So in the end,the opinion of the participants was that the main problem of Qin Huai Lantern is not innovation,but inheritance.There are,of course,different voices.Some practitioners use optical fibers to make parts for lanterns th

39、at are considered innovative,which makes a joke.The optical fiber that can be used to make lanterns is a waste product in the production process of communication equipment,used to make lanterns can only be described as wasteful use,not innovation.The innovation of arts,crafts and traditional crafts

40、must be in accordance with their laws in order to be accepted by the industry,and thus by society and history.Such innovation requires the study of the laws of arts and crafts and traditional crafts,of the traditions that have been accumulated over thousands of years,and of the true nature of things

41、 as reflected in tradition.Such a task is difficult and glorious at the same time,requiring long-term practice and understanding,as well as serious reflection,the so-called think twice before you act.Many of the current innovations in arts and crafts and traditional crafts are unsuccessful because,o

42、n the one hand,they do not study tradition and are considered too complicated and heavy;on the other hand,they are swayed by the economy and public opinion.For example,the social reaction to the recent rise in popularity of the Goldenrod wood and its products has been incredible.Historically,the gol

43、d cedar wood was mostly used for coffins because in the traditional system of knowledge,gold cedar wood is a shade wood.But a lot of it is now being used by some rich friends to make furniture that seems to have a lot of face at home.However,in Chinas handicraft tradition,people dont make furniture

44、out of gold silk nan wood,because it is extremely cold and not beneficial to people.This is what the knowledge system that supports the arts and crafts tradition tells people.In the knowledge system of arts and crafts and traditional crafts,we can see that the Chinese contribution is not only in the

45、 knowledge of physics,but also in the understanding of physicality.The origin of material knowledge is very early,mainly from the synthesis of peoples sensory experiences with various materials.There are many relevant accounts in the ancient literature,such as:Each thing has its own nature,and each

46、nature has its own poles(Notes on the Nanhua True Sutra-Inside).Warm,cool,cold,and hot,the nature of things is also(Song Huizong Shengjijing,Volume 9,Book II).Han Dynasty documents recorded in the more specific,water is said to run down,fire is said to inflame on,wood is said to bend straight,gold i

47、s said from the leather,earth is said to gather.The grass is salted,the heat is bitter,the curvature is sour,the leather is pungent,the harvest is sweet.(Han-Confucius Shangshu Justice)Which materials are warm and which are cold are described more clearly in the Ming Dynasty Li Shi Zhens Compendium

48、of Materia Medica.The Compendium of Materia Medica is a medical book that is not very high in the field of TCM,and is considered by many old TCM practitioners to be a museum book.But when viewed from the perspective of traditional craftsmanship,it can be seen as the best monograph on material scienc

49、e.There is both a physical description of the thing and an analysis of its physical nature,and more valuable is the role and understanding of the thing in social life.Such an account fits into the Chinese paradigm of material culture study of traditional handicrafts.To carry on such a tradition,one

50、needs to go step by step and learn a lot about the tradition-about materials,processes and forms.The ancients had subtle insights into styling,but such insights are seldom found in writing,more often in various types of work.The folk proverb goes,He who speaks often does not do,and he who does often