【摘要】 艺术通常被视为整体文化的建构形式及多重力量的承载方式,这在某种程度上低估或忽视了艺术实践主体的能动性。在白族民居彩绘传承人李云义的个人生活史中,民间艺人在个人、家庭和国家三个不同的社会场景中的个体能动性、个人情感、艺术实践与特定历史传统、社会情境、国家政策的相关性得以集中展现,为人类学阐释民间艺人在艺术实践中的主体性以及政治、经济、社会、文化等与民间艺术的传承、创新、传播之间的关系提供了新的视角。更多还原

【Abstract】 Art is usually regarded as the construction form of the whole culture and the bearing way of multiple power,which to some extent underestimates or neglects the initiative of the subject of art practice. In the personal life history of Li Yunyi,an inheritor of folk house painting of the Bai nationality,folk artists’ individual initiative,personal emotion,art practice,and their relevance to specific historical tradition,social situations and national policies in the three different social contexts of individual,family and country are concentrated and reflected,which provides a new perspective for anthropology to expound the subjectivity of folk artists in art practice,and the relationship between politics,economy,society,culture and the inheritance,innovation and dissemination of folk art.更多还原