日本民俗学中艺术相关讨论的动态动态与动态( 七 ) _艺术

Afterin the, the lifetheseface are full of fog, and theis a long way, and thelifebars does not know when the end will be. In such astate of lack, ,and ,made: at first, he was justthe time by , but he was sent to otherwho lived inbars.among this group. In theof China,wasanfolkthat can be seen .in daily life, and now they areit up againof the joy of . At that time, no one had any clearor , andby . Thein smallwith each other,theof , and.
In theworldthe bars of the, art still helpsto live out their own life world, which is the . Under such, theyand enjoy their own art, whichtheir lives,their lives with ,their sense of being alive, and fills the blank time in their lives. . As this art wasbythe bars and givenvalue, itandinto "Art from Bars".
Only aofto make and sell this kind of art after being , and even they have faded out after 2、3 years. Thein thisdiedten years. , the arthas a much. Thewhothenoneed this art, buthaveandit. Today, theisin the world, and manybooks have been , andare alsoon the . Now this art has beenfrom theevent and isas a fixedstyle .
thewillto bedown in the .theworks have many newand , and thehave, theythe same. The basic style ofparts is stillfrom the past. It's just thattheandare the same, theand valuein this art are quitefrom theones. Under the, , afolk art (or folk art), hasan art. Then this artin the , andthe artby the .
For those , themade in China and themadebars must have very. Themadethe bars and themade byin their spare time are also veryin . In the, this value mustto.
, thethe world who lovethemay also bevalue out of it. But this must be veryfrom the value that thoseback then. In order to fullytheand value, it must be read in theof the art and its . , artthein which itslive and how they live under this .
五个
结论
it is thewall built by oldinusing waste , or theworks made by using wasteafter the ironin the, they are allinand in the same vein as. , these "" -- did notand value tosuch works. No, they are not even aware of theof . In this way, in the eyes ofwho areby the "" ofand theof art, these arts are notgoodfor . Forwho areby, "" such aswalls andare alsoin value.在民俗学中采用艺术这一视点时，艺术本身并不是真正需要我们考察的对象。值得考察的是艺术背后人们千姿百态的生活形象与方式，是他们别具特征的人生观与人性，这些都是极好的研究材料。另外，将“艺术家”的个人史与其生活社会的当代史加以描述，从中亦能生长出研究的良材。对民俗学的艺术研究而言，“艺术家”在生之历程中灌注到作品里的个人独属的特殊意义、价值与故事较作品本身更值得探究思索。
老人砌的花墙、铁窗后的折纸，这些籍籍无名的业余者随手做出的“作品”价值通常无法受到普遍认可，因此也就不得赏识，无人问津。在现代社会颇受追捧的（联合国教科文组织）的世界遗产之类标准关心的是“突出的普遍价值（value)” 。这样的价值才会引起世间的瞩目、学者的兴趣与来自公共机构的保护。但是众所周知，“突出的普遍价值”这一思路一方面存在评价标准不固定的问题，另一方面也与现代思潮所重视的文化多样性这一观点相抵触，其后自身也对之进行了反省。结果，推行较世界遗产为迟的非物质文化遗产保护活动过程之中，“突出的普遍价值”便不再被列为标准。
对于尊重民众多样化的文化实践并以之为研究对象的民俗学而言，“突出的普遍价值”几乎没有任何意义。如老人的花墙那样不具突出价值或普遍价值的造物在人类的生活世界中俯拾皆是，但即使没有突出的普遍价值，它们却依然有自己的价值。它们有着普通凡常平平无奇的价值，又有着属于个人的独特价值。有时候，它是如金色冒险号折纸那样由某个有一定共性的集团所共享的价值，有时候则是只有极少人能够意识到的价值。极端而言，甚至可能是仅有独自一人能够理解的价值。它们固然无法被列为“世界级”“国家级”的文化遗产，但却可能是某个家庭的“家庭级文化遗产”，或是某个人自己的“个人级文化遗产”，是无可替代的重要存在。对于这些平凡生活中不突出亦不普遍、饱受忽视的“家庭级文化遗产”与“个人级文化遗产”的价值，我们民俗学研究是应当要重视的。

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