制度化背景中的剪纸传承与生活实践

【作者】 王雪；

【导师】 邢莉；

【作者基本信息】 中央民族大学 ， 民俗学， 2011， 博士

【摘要】 民俗学以日常生活文化传承为研究重点。从传承条件、传承规范性、传承人、传承语境等方面综合探讨可以弥补传统文本式研究的不足,丰富原有民俗传承研究路径。本文以剪纸传承为研究对象,借鉴既有民俗传承研究成果,着眼于现实生活中剪纸传承困境,探究以剪纸为代表的民俗文化在多重力量下的调适过程。民俗传承是人和人之间所展开的行为,是文化延续的方式,表现为民众日常生活实践的一种过程。本文认为,人和人之间或民俗生活文化的共同性,是传承成立的主旨所在。通过日常接触,继承者对传达者通过口语、行为所传达出的价值观予以尊重和理解。传承,宏观上涉及到民俗社会何以可能的问题、如何发挥社会功能的过程；微观方面涉及到个体如何在民俗中养成、成为民俗之民的过程,以及民俗传承者的生活实践。传承是民俗文化的延续,也是民俗生活的延续。现代社会中,剪纸传承在市场化、工业化以及国家政策干预等多种因素的影响下,必然与民俗文化的整体变迁相伴而具体呈现于民众的日常生活世界。本文共分七章。第一章是本文的绪论部分,包括研究缘起、背景及意义、相关研究综述、研究方法与资料来源、相关概念及分析框架。第二、第三、第四、第五和第六章为本文主体部分,运用民俗传承理论,从不同侧面对剪纸传承进行分析论述。第二章主要对剪纸传承语境进行了分析。第三章对高密剪纸名实生产过程予以分析。第四章对河南村剪纸的传承与变迁进行了分析。第五章分析了新剪纸的出现及制作者身份的转换。第六章对剪纸的社会功能及代际传承进行了分析。第七章为本文结论部分,提出了本文的发现,并以传承者为中心,从国家、地方社会、村落等层面进行了讨论。本文通过对山东高密河南村实地调查资料分析认为,剪纸是民众现实生活的重要组成部分,也是民众沟通自然时序、整合社会生活秩序的媒介。民众借助于剪纸制作和交流而参与到当地社会网络建构。在民俗生活世界中,剪纸作为民众生活的要素,不仅体现在有形的实物形态上,如喜花、窗花、鞋花、饽饽花、随葬花等传统的剪纸及其应用,而且拥有被广泛认知的文化内涵。在这个意义上,俗与民是不可分割的关系,而且民的主体地位尤为明显。随着工业化和市场化的深入影响,剪纸有日益淡出生活的态势,如窗花消失,剪纸商品化等等。民俗传承之中,民不仅是民俗文化的主体,而且也是民俗传承的主体。因此传承人的变化对民俗传承而言是关键性的。村内剪纸传承人具有从分散到集中的趋势,集中到范氏一家及其密切联系的小群体之中。这充分体现在由官方所认定的“剪纸传承人”身份上。剪纸传承人的身份获致更多依赖于生活共同体之外的力量：村落外的国家力量、学术及媒体报道不断塑造剪纸艺人职业身份。职业剪纸艺人已逐渐脱离其所生活的群体文化范畴,日益依赖且愈加深入到受制度化背景影响的传承环境中来。由此,传统的单向的、单一的、“平面式”的村落内部传承模式已逐渐转为“自上而下”与“自下而上”的村落社区与地方社会的双向互动传承模式。新世纪以来,随着“非遗”保护进入中国,国家启动了非物质文化遗产保护工程,处于国家力量、学术权威、媒体等因素的宣传、诱导和型塑及现代化进程对村落变迁的影响,多重力量影响的“立体式”民俗传承模式也日渐清晰。剪纸传承的过程就是生活实践的过程。剪纸传承人源于地方民俗文化的养成。剪纸被民众所共享,故具有公共文化性质。虽然剪纸传承日益退守到仪式层面,但民间社会中以剪纸为媒介的馈赠和报偿机制却让我们看到了民间社会共同体的运转方式及剪纸文化存在的普世价值。代际之间在剪纸的传达和继承同时,继承者接受并承袭了传达者所持有的价值观念。为此,国家在推动“自上而下”的剪纸保护工程同时,应该与民间社会的“自下而上”的文化复兴、文化自觉结合起来。国家在提供剪纸文化保护的路径和方式时应该契合民间传统文化,注重人伦关怀,民间社会内的尊重和平等。就剪纸传承而言,应该以民众为主体,融入地方社会原有的机制。在此基础上渐进地促使地方民众文化自觉,珍爱自己的文化。只有这样才能够使剪纸不但为地方社会所参与共享,而且能够推进其在社会公共文化领域内的共享进程。更多还原

【Abstract】 The cultural inheritance in everyday life is an important research field of folkloristics. The weaknesses of former research paradigm of textual study could be largely compensated by adopting inheritance prerequisite, normalization, context and inheritors. With the research object of paper-cut inheritance, this thesis reviews relative studies on folklore inheritance, starts with a continuity at stake in reality, explores the process of adjustment of folk culture, particularly of paper-cut in the game of multiple powers.As an interpersonal behavior, folklore inheritance is the way to continue culture, which is embedded in the practice of everyday life. And the inheritance is possible because of the intercommunity of folks or folk custom life. Through daily interaction, the inheritors get to understand and respect the values conveyed by the statements and actions of the communicators. With this regard, the inheritance involves the function of society from the macro perspective and the socialization of individuals from the micro perspective. The inheritance is not only the continuation of the folk culture, but also of the folklore custom life. Influenced by marketization, industrialization and state intervention in modern society, paper-cut inheritance inevitably changes along with the transform of folklore culture, which is embodied in people’s daily life.Seven chapters constitute this thesis. The first chapter is the preface, which includes the significance of research subject, literature review, research method and material sources, key concepts and analysis structure. The main body of this thesis is composed of the following five chapters, which dissects the paper-cut inheritance with the theories of folklore inheritance from various dimentions. The second chapter describes and analyses the context of paper-cut inheritance. The third chapter describes the forms and content of Gaomi paper-cut pruction. The fourth chapter consentrates on the inheritance and its changes of paper-cut in Henan village. The fifth chapter dwells on the emergence of new-type paper-cut and the status transformation of paper-cut makers. The sixth chapter reveals the social function and intergenerational inheritance of paper-cut. In the seventh chapter, the conclusion is drawn after adequate discussion on paper-cut inheritance at various levels of the state, local society and village.Based on the fieldwork at Henan village in the Province of Shandong, the author argues that the paper-cut is not only an essential part of daily life of local people, but also the media through which people follow the rhythm of nature and keep the society in order. By making and sharing the paper-cut, people participate into the construction of local society net-work. In the world of folklore custom, the concrete images of art of paper-cut (such as paper-cut for wedding, window decaration, shoes, pastry and funeral) embody cultural connotation which has been widely accepted by the locals. From this point of view, the folk and lore is indivisible and the former obviously occupies the principal status. Along with the process of industralization and marketiztion, there is an emerging trend that paper-cut gradually fades out of local daily life (e.g. The disappearance of paper-cut for windows, the commercialization of paper-cut, etc.). As the folks are the subject of folklore culture and its inheritance, the inheritors occupy a key position during the process of folklore inheritance. Within the village of the fieldwork, the original dispersed inheritors trend to centralize. Specifically speaking, only the Fan family and a small group with intimate relationship with Fans survive as inheritors of paper-cut, which is largely because of the offical authentication. To a great extent, the identifation of paper-cut inheritors depends on the powers outside the life community:state power, academic research and media report shapes the identity of professional paper-cut inheritors. Disengaging themselves from local culture in which they live, the professional paper-cut inheritors get involved more and more in the network of institutionalized inheritance.The process of inheritance of paper-cut is simultaneously the process of living practice. With design in their heart, the professional paper-cut artists are made by local folklore culture. Shared by local folks, the publicity is characteristic of the paper-cut. Although the paper-cut gradually falls back within the ritual realm along with the improvement of material condition, the paper-cut still serves as medium of gift mechanism, which reveals universal values of paper-cut culture. During the process of intergenerational inheritance of paper-cut, the values are conveyed by the elder generation and accepted by the younger generation, which is essential for the village community and local society to function normally.Seen from state level, the up-down project of paper-cut protection should combine the bottom-up cultural renaissance and consciousness in civil society. The offical approach to protect paper-cut culture should be guided with the gift mechanim existing in folk society. With regard to the inheritance of paper-cut, the principal status of local folks should be respected and efforts should be made to facilitate the gradual process of cultural consciousness by local folks. Only in this way could the paper-cut be shared and participated in by local society, and appreciated in a broader realm of public social culture.更多还原