传统手工艺的当代价值探讨 [8]
论文作者:www.51lunwen.org论文属性:学术文章 Scholarship Essay登出时间:2014-11-26编辑:Cinderella点击率:19171
论文字数:9270论文编号:org201411261330112505语种:中文 Chinese地区:美国价格:免费论文
关键词:craftsculturetradition传统工艺
摘要:传统工艺是指世代相传,具有百年以上历史以及完整工艺流程,采用天然材料制作,具有鲜明民族风格和地方特色的工艺品种和技艺。从事传统工艺领域设计、制作工作的专业人员叫做传统工艺师。现代社会,传统工艺还有存在价值吗?本文给出了肯定答案。
ms have affected all
traditional crafts throughout history as explained in, ‘Crafts in the English
Countryside: Towards a future’ by E.J.T. Collins, ‘Rural depopulation,
technical obsolescence, changing fashions, foreign competition…a growing gap
between craft and average incomes, drying up of recruits, low standards of
entrepreneurship and an unwillingness or inability to adapt to modern
conditions: all took their toll’ (2004, p.20). Knitting as a hobby shows it has
value as a pastime for people to enjoy. People find it satisfying to be able to
make a unique knitted item for themselves or as gifts. As knitting as a hobby
enjoys a rise in popularity nowadays, the growing knitting community have taken
to the internet in their millions to swap patterns with each other, discuss
knitting and make knitting tutorials for others to learn from. This means that
anyone who is even slightly interested in knitting can easily access everything
they need to know about it to become a knitter, adding to the number of people
in the knitting community. This growing popularity is not restricted to just
knitting, it seems to be the case for many traditional crafts. Collins goes on
to comment on the matter, ‘Some crafts are adapting to new markets and can hold
their own…Unexpected factors come into play, the rise of ‘green’ consumerism,
the influence of TV gardening personalities – even a welcome boost to besom
broom making from the Harry Potter books’(2004, p.21). Collins explores some of
the unique influences causing the popularity increase in traditional crafts.
This shows that people find traditional crafts valuable as there is a constant
stream of people still wanting to learn about crafts, like knitting. As previously mentioned knitting used
to be taught widely across the UK in schools, but nowadays it is very rare that
knitting is taught to under 18’s in education. People must actively seek
knitting courses or university degrees in it. However, this educational route is
a big commitment compared to the 1980’s when young adults could just try out
different traditional crafts in high school before deciding that they would
like to pursue it as a career. Although this still has yet to deter people from
joining adult classes on traditional crafts like knitting, Fran Oise
Tellier-Loumagne comments in ‘The art of knitting’ by saying, ‘…in classes of
young textile and fashion designers, more than three quarters of them are
passionate about machine knitting, and more recently also about
hand-knitting’(2005, p.10). This type of education on traditional crafts really
takes the time for the student to explore traditional crafts in depth, unlike
day workshops on traditional crafts that are more like taster sessions than the
‘master’ classes they describe themselves as. Richard Sennett’s book ‘The
Craftsman’ talks about his theory that it takes 10,000 hours of doing a craft
to master the craft as a skill. It says, ‘Craftsmen take pride most in skills
that mature. This is why simple imitation is not a sustaining satisfaction; the
skill has to evolve. The slowness of craft time serves as a source of
satisfaction; practice beds in, making the skills one’s own, slow craft time
also enables the work of reflection and imagination – which the push for quick
results cannot. Mature means long; one takes lasting ownership of the skill’
(2009, p.250). So how can anyone ‘master’
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