中华之美丛书围绕中华优秀传统文化这一主题，择取其中15个专题分别加以介绍。这15个专题，包括以思想、智慧、艺术为主的无形遗产，以工艺、器物为主的有形遗产，以衣食住行乐为主的民俗生活，它们精心构架，有机结合，勾勒出中国文化的一个总体面貌，并反映出中华文化独一无二的理念、智慧、气度、神韵。中国民间美术是中国民间大众为了满足自身的社会生活需要而创造的视觉形象艺术，主要表现形式包括剪纸、年画、刺绣、皮影、木偶、面具、风筝、面塑、泥塑等。其创造者主要由广大农村地区的普通劳动者群体构成，其中有不少是农村的劳动妇女。它融于民族群体的生产生活、衣食住行、人生礼仪和信仰禁忌等社会生活形态之中。它的文化内涵和艺术形态，蕴含着中华民族由原始社会到今天长达七八千年的历史文化的积淀，从自然崇拜、图腾崇拜、祖先崇拜的原始文化遗存直到近现代的商品经济文化，堪称民族历史文化的活化石和博物馆。本书阐述中国民间美术的特征、社会功能、艺术体系、表现形式和创造者，揭示民间美术与原始文化信仰的密切关系。The creators of Chinese folk art come from the working class masses of Chinas rural areas. They are mostly female laborers. A communal art, folk art would engender all of Chinese literature and all later art. Its presence is evident in everyday food, clothing, shelter and transportation; in traditional festivals, ceremonies and rituals, and in beliefs and taboos. As a living example of cultural heritage, it shows the continuity of Chinese culture from primitive society to present, a culture that bears distinct national and geographical characteristics. With this heritage, Chinese culture boasts the longest history and the richest historical sources, and of all cultures, considers itself the most widely shared and the most geographically distinct. Its cultural implication and art form accumulate a historical culture of 7,000-8,000 years dating back to primitive society.中华之美丛书围绕中华优秀传统文化这一主题，择取其中15个专题分别加以介绍。这15个专题，包括以思想、智慧、艺术为主的无形遗产，以工艺、器物为主的有形遗产，以衣食住行乐为主的民俗生活，它们精心构架，有机结合，勾勒出中国文化的一个总体面貌，并反映出中华文化独一无二的理念、智慧、气度、神韵。 中国民间美术是中国民间大众为了满足自身的社会生活需要而创造的视觉形象艺术，主要表现形式包括剪纸、年画、刺绣、皮影、木偶、面具、风筝、面塑、泥塑等。其创造者主要由广大农村地区的普通劳动者群体构成，其中有不少是农村的劳动妇女。它融于民族群体的生产生活、衣食住行、人生礼仪和信仰禁忌等社会生活形态之中。它的文化内涵和艺术形态，蕴含着中华民族由原始社会到今天长达七八千年的历史文化的积淀，从自然崇拜、图腾崇拜、祖先崇拜的原始文化遗存直到近现代的商品经济文化，堪称民族历史文化的活化石和博物馆。本书阐述中国民间美术的特征、社会功能、艺术体系、表现形式和创造者，揭示民间美术与原始文化信仰的密切关系。 The creators of Chinese folk art come from the working class masses of Chinas rural areas. They are mostly female laborers. A communal art, folk art would engender all of Chinese literature and all later art. Its presence is evident in everyday food, clothing, shelter and transportation; in traditional festivals, ceremonies and rituals, and in beliefs and taboos. As a living example of cultural heritage, it shows the continuity of Chinese culture from primitive society to present, a culture that bears distinct national and geographical characteristics. With this heritage, Chinese culture boasts the longest history and the richest historical sources, and of all cultures, considers itself the most widely shared and the most geographically distinct. Its cultural implication and art form accumulate a historical culture of 7,000-8,000 years dating back to primitive society.
關於作者：
靳之林，中央美术学院教授、中央美术学院学术委员会顾问、文化部中国民族民间文化保护工程专家委员会委员。长期从事中国民间美术与油画的研究与教学工作，主要著作有：中国民间艺术与考古文化丛书、《中华民族的保护神与繁衍之神抓髻娃娃》、《生命之树》、《秦直道》等。 Jin Zhilin, born in 1928 and graduated from the Central Academy of Fine Arts in 1951. He has been long engaged in the researching and teaching of Chinese folk art and oil painting. At present, he is a professor of the Central Academy of Fine Arts and is a consultant of the Academy Committee of the Central Academy of Fine Arts. He is the member of the National Folk Culture Protection Project Expert Committee of the Ministry of Culture. His main works include： The Cultural Series on Chinese Folk Arts and Archeology, Baby with Coiled Hairthe God of Protection and Multiplication of the Chinese Nationality, The Tree of Life, Qin Zhidao, Generation after Generation, and etc.
目錄：
ForewordSix Characteristics of Chinese Folk ArtThe Core of Chinese Folk ArtLife and Propagationan All-time ThemeSymbols of Visual ObjectsTotemsSocial Context of Chinese Folk ArtThe Social Context of Folk ArtsFolk Arts and FestivitiesFolk Arts in Daily LifeFolk Arts in Beliefs and TaboosThe Structure of Chinese Folk ArtPhilosophy ConceptThe Shaping StructureThe Structure of ColorsCreators of Chinese Folk ArtThe Art of the Laborer CommunityThe Art of Folk Artist CommunityVarious Chinese Folk Art WorksPaper-cutLeather SilhouetteWoodcut New Year PictureMasks and the Culture of ExorcismKite
內容試閱：
In the early 1970s, I left the College of Fine Arts where I hadbeen a teacher for any years and went to live in Yanan, Shaanxi, on the Loess Plateau on the middle-upper reaches of the Yellow River. This was the home base for my research on Chinese folk art. Rich with glorious historical culture, this place had kept its longstanding cultural tradition due to generations of self-enclosed culture and years of underdeveloped transportation. As a result, the native Chinese culture was by and well maintained. In my 13 years working in the Yanan Mass Art Museum and the Commission of Antiques Management, I had the chance to conduct on-site research in folk art, fork custom and culture, and an overall study and exploration of archaeological culture. The first-hand study of folk culture and customs, as well as its intersection with archaeological culture and historicallegendary documents, helped me get in-depth in the study of Chinese cultural and philosophical origins. From there, I went on to the Yangtze River valley, the Liaohe River basin, and the Pearl River valley, then covered the entire country from Xinjiang to Shandong to Taiwan, from Heilongjiang to Hainan Island. Since the 1990s, I traveled further, to India, Pakistan, West Asia, Turkey, Egypt and Greece, Italy, and other parts of the European and American continent, continuing my research on folk culture and archaeological and historical cultures. Putting Chinese folk culture and its cultural and philosophical origin against the larger cultural background of all mankind, I shifted my study to mankinds common cultural consciousness, and the original features of individual national cultures and philosophies.When I reached the villages on the Loess Plateau, I found Chinese folk arts in the forms of paper-cutting, embroidery and floury flower everywhere. Some were representations of animals, such as the turtle, the snake, the fish and the frog; and some were half-human, halfanimal： a human face on a turtles body, or on the body of a snake, frog or fish. There were also wholly humanized fairies. These art works embraced the development and transformation of totem culture through three phases from matriarchal society to patriarchal society. I felt as if I were in a world of totem culture, visiting the cultural center of a tribe of ancient times. The design of a pair of fish with human faces found on painted pottery and the fish net code from the 6,000-yearold Yangshao Culture unearthed in Banpo of Xian, Shaanxi, are still quite popular in the rural area here. The designs remain among the people as symbols of the god of life and propagation, a symbol of with supernatural power.
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