【作者】 达妮莎；

【导师】 诸葛铠；

【作者基本信息】 苏州大学 ， 设计艺术学， 2008， 博士

【摘要】 蒙古族民间手工艺是重要的非物质文化遗产之一。在2003年10月巴黎举办的第32届会议上通过了《保护非物质文化遗产公约》。蒙古族民间文学:格萨(斯)尔;蒙古族民间音乐:蒙古族长调、蒙古族呼麦、蒙古族马头琴音乐、蒙古族四胡音乐;蒙古族民间舞蹈:蒙古族安代舞;蒙古族杂技与竞技:蒙古族搏克;蒙古族传统手工技艺:蒙古族勒勒车制作技艺;蒙古族民俗:成吉思汗祭奠、祭敖包、那达慕、鄂尔多斯婚礼,均先后被列为非物质文化遗产名录中。在这些项目中,有些是属于蒙古族民间手工艺的,如传统手工技艺——蒙古族勒勒车制作技艺;有些是与蒙古族民间手工艺相关的,如蒙古族马头琴、蒙古族四胡、蒙古族安代舞、蒙古族搏克、成吉思汗祭奠、祭敖包、那达慕、鄂尔多斯婚礼。诸多项目被列为保护项目,在欣喜的同时,也意味着其中存有的危机。现在已经很少有人将注意力集中在这些文化遗产之中了。在这样的严峻形势之下,对蒙古族民间手工艺的保护就变得尤为重要。作为一名学习设计史论专业的学生,结合自己的专业,如果能对蒙古族民间手工艺的文化进行系统深入的研究,或许能为抢救和保护这些遗产做一些基础性的整理工作。清代蒙古族民间手工艺作为蒙古族民间文化艺术的一个重要组成部分,涉及到蒙古族服饰、佩饰、器具、居所、车辆等门类。从设计历史与文化的角度对其进行研究,对于研究各门类的蒙古族设计将有着重要的意义。同时不能回避的是,目前在国内的学术领域,对于清代蒙古族民间手工艺的研究者甚少,也只有悉数发表的研究性成果,这无疑为深入研究带来了诸多困难。本文的研究结合文献、考古资料、田野调查,借鉴内蒙古各地区地方志、蒙古族文学、社会学、史学、考古学等相关学科的研究成果,对清代蒙古族民间手工艺的生产、销售、思想观念、特征、材料与技术、审美等方面进行了专门性的探讨。文末的结语,笔者总结了清代蒙古族民间手工艺的历史地位,并提出了其可能行之有效的发展道路。在21世纪的今天,蒙古族民间手工艺的发展不能全然只按照旧时的传统,而是要不断地寻求其可持续的发展道路,也就是诸葛铠先生谈及中国传统手工艺发展时提出的“适者生存的再生道路”。蒙古族民间手工艺可以有三种生存方式:一种是整体的传承,并从文化生态学的高度人为地保护那些优秀品种及大师级人物,使之不失传。在提倡继承和保护的过程中也遇到重重矛盾,如蒙古族传统文化与蒙古族现代文化的矛盾、蒙古族传统手工技艺与现代生产技术的矛盾、少量制作与大批量生产的矛盾,以及面临的产业、市场、就业等方面的压力。对此,不妨通过民间社团开发、组织蒙古族民间手工艺品的生产,通过扩大其产业、市场份额、就业位置来促进其发展。由此可以推衍出另外两条发展道路:一是将蒙古族的传统手工技艺与现代风格相结合的发展道路;一是将蒙古族民间手工艺品的风格和手工技艺相分离,用现代材料和技艺表现其传统风格的发展模式。更多还原

【Abstract】 The Mongolian folk handicraft is one of important non- material cultural heritages. Paris conducts in October, 2003 in the 32nd session of conference passed "Has protected Non- Matter Cultural heritage Joint pledge". Mongolian folk literature: Gesaer; Mongolian folk music: The Mongolian head of the clan move, The Mongolian Humai, Mongolian stringed instrument music,Mongolian two-string bowed instrumengts music; Mongolian folk dance: Andai dance; Mongolian acrobatics and athletics: The Mongolian Wrestles the gram; Mongolian traditionally manual technique: Mongolian light wooden cart manufacture technique; Mongolian folk custom: Memorial services for Genghis Khan, Offer sacrifices to the Mongolian cairn, the Nadam, the Erduosi wedding ceremony, are successively listed as in the non- matter cultural heritage name lists. In these name lists, Some belong to the Mongolian folk handicraft, like traditional manual technique, the Mongolian light wooden cart manufacture technique; Some are relevant with the Mongolian folk handicraft, like the Mongolian stringed instrument music,Mongolian two-string bowed instrumengts, Mongolian An Dai dance, the Mongolian wrestle gram, Memorial services for Genghis Khan, Offer sacrifices to the Mongolian cairn, the Nadam, the Erduosi wedding ceremony. Many projects are listed as the protected projects, while joyful, it is also meant there are much crisis. Now already the very few people focused the attention in these cultural heritages. Under such stern situation, it is very important to make changes for the Mongolian folk handicraft protection especially .As a student specialized in history of design historical, combining with own specialty, if conducting the system thorough research to the Mongolian folk handicraft culture, perhaps I can do some foundational crabbings for rescuing and protecting these inheritancesThe Mongolian folk handicraft is one of the important constituents of Mongolian folk culture art, involving with the Mongolian costume, ornaments, appliance, residence, vehicles. Conducts the research from the design history and the cultural angle, has the vital significance in the study of each class of the Mongolian nationality design. Simultaneously cannot avoided, at present in the domestic sphere of reseach, there really are a few of researchers devote themselves to Mongolian folk handicraft, also only a few of achievements were been publicated, without doubt, which has brought many difficulties for the thorough research. This article has carried on the special discussion on the aspects of Mongolian folk handicraft production, the sale, the thought idea, the characteristics, the material and the technology, esthetic and so on in the Qing Dynasty, referring to document,the archaeology material, the field investigation, areas of local chronicle of Inner Mongolia nationality literature, sociology, history, archaeology research results and so on.In the end, the author summarized the historical status of Mongolian folk handicraft in Qing Dynasty, and proposed its possibly effective development paths. In the 21st century today, The development of Mongolian folk handicraft could not completely only defer to the old tradition, but was must always seek the desired development path, which was Mr Zhugekai referred to the Chinese traditional handicraft development path, "the survival of the fittest regeneration path".The Mongolian folk handicraft may have three survivals ways: the one is the overall inheritance, and highly artificially protects these outstanding varieties and the masters from angle of the cultural ecology, ensuring not to be lost. In the process of advocated inherits ,we may meet layer on layer contradictory, like the contradiction between Mongolian traditional culture and the Mongolian modern culture, the contradiction between Mongolian tradition manual technique and the modern production technology, the contradiction between a few of manufactures and the mass production, as well as faces aspect of industry, market, employment pressure and so on. Regarding this, the organization development and Mongolian folk handicrafts production might be promoted through the folk mass organization, by expanding its industry, the market share, the employment position. Which may push spreads out other two development paths: One is the development path which unifies Mongolian nationality’s traditional manual technique and the modernistic; the other is separation between the style and the manual technique of Mongolian folk handicrafts, displaying its traditional style with the modern material and the technique.更多还原