【摘要】：作者通過對境內(nèi)及東亞各國、歐美諸國的田野調(diào)查,將中華髹飾工藝的衍生發(fā)展及其與東亞髹飾工藝的相互交流線索作概括梳理,認(rèn)為在當(dāng)今開放的國際語境之下,只有以國際化的高度與視野進(jìn)行跨民族國家的體系研究,才能夠真正理清中國髹飾工藝成長衍變精進(jìn)乃至倒退失傳的脈絡(luò),民族風(fēng)格的強化在于本民族的自信,"獨巧不傳"則等于抱殘守缺。
[Abstract]:Based on the field investigation in East Asia, Europe and America, the author summarizes the derivative development of Chinese painting technology and its mutual communication clues with East Asian painting technology, and thinks that in the open international context, Only by studying the inter-national system from the perspective of internationalization, can we truly understand the development, evolution and even retrogression of China's painting technology. The strengthening of national style lies in the self-confidence of the nation.
【作者單位】： 東南大學(xué)藝術(shù)學(xué)院;
【基金】：國家“211工程”三期“藝術(shù)學(xué)理論創(chuàng)新與應(yīng)用研究”項目階段性成果之一
【分類號】：J527;G125

【參考文獻(xiàn)】

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