蜡染文化在旅游产品开发中的传承与表达

采取比较研究法对蜡染技艺与文化的旅游资源价值进行了探讨,分析了目前贵州蜡染文化旅游产品开发现状及存在问题。在借鉴国内外比较成功的文化产品开发经验的基础上,认为贵州蜡染文化旅游产品在开发过程中应采取多方参与的模式,注重政府、企业、社区及研究组织之间的内在协作机理,强调旅游产品在游客消费与文化体验之间的多层次表达,并应结合市场环境,积极打造贵州本土蜡染文化品牌,以此推动蜡染文化的传承保护和贵州民族文化旅游的发展。     

安顺平坝桃花村苗族蜡染纹样的内涵

苗族蜡染的纹样千变万化,然而,一些重要的纹样在蜡染图案中大量出现,并构成了苗族蜡染的母体文化特征。这些典型的纹样不仅蕴藏着一个民族的历史记忆与宗教信仰,最重要的是还反映着一个民族背后共同的文化心理。     

中国西南与东南亚国家蜡染文化比较研究

蜡染作为我国西南和东南亚广大地区共有的一种民族艺术形式,其纹样呈现出来的多种艺术风格饱含着各民族的情感、审美情趣及价值取向,所反映的是我国西南和东南亚各民族之间相似的文化特质.     

Building a Network for Preserving Intangible Cultural Heritage through Education: A Study of Indonesian Batik

This study aims to discuss a strategy to preserve intangible cultural heritage in education and to deliberate on the batik network in Pekalongan, Indonesia. To investigate the network, this study adopted a framework based on the actor–network theory (ANT). The research data was obtained through observation, interviews and document analysis. Interviews were conducted with eight interviewees who are working professionals in batik. The study achieved the following results: 1. Cultural heritage education needs to connect with the needs of everyday life within the context of the current situation and the social environment. 2. A successful cultural heritage educational network must include the efforts of industry, government, schools, museums and research institutions so that everyone can derive maximum benefit from the network and achieve a sense of accomplishment. 3. Attentiveness to conscious cultural heritage contributes to the promotion of education. Batik knowledge is built by interactions between batik workers, batik, batik museums, school teachers, and workshops or classes, such as student work in schools.     

女性在民族民间手工艺行业中的角色与作用——以安顺蜡染工艺为例

安顺地处黔中腹地,有蜡染、刺绣、织锦、木雕、石刻、剪纸、编织等丰富多彩的民族民间手工技艺,传统民间工艺的从业者大多是女性,特别是少数民族劳动女性,她们用双手创造的指尖艺术,深受人们的喜爱。对于安顺蜡染来说,女性在民间蜡染工艺领域中不仅扮演着传承人的角色,也在工艺改进和创新中发挥着极其重要的作用。     

广西隆林偏苗服饰着装习俗研究

现代服装设计艺术的多元化发展,需要服装设计者从少数民族的传统服饰文化中不断汲取营养。广西隆林苗族的分支——偏苗的服饰,因其款式多样、色彩鲜艳而倍受关注,其基本结构、穿着方式及配饰别具一格。深入研究其形态结构、穿着方式,对服装结构学的发展大有裨益。