摘要
自20世纪20年代初期萧山花边传入中国起,其作为特殊时代的舶来手工技艺,在国家经济层面一直担任赚取外汇的农家手工业职能,而在地方社会中则作为近代性女红进入江南农家经济结构中,并与当地女性的日常生活相联系,贯通个体知识和经验成为生活整体的一部分、成为个体的传统。进而萧山花边通过嵌入地方七夕乞巧活动,脱离天主教的标签与本土佛教、民间信仰融为一体,成为地方社会的传统。进入自由主义市场经济和非遗时代,花边传承人通过“文化挪用”的方式,不断丰富和完善与非物质文化遗产、国族象征的关系,将个体的、社会的民间手工艺嵌入国家集体命运中,完成了外来手工艺的传统本土化,也成为探讨不同文化之间常态性交互影响的范本。
Since its introduction to China in the early 1920s,Xiaoshan Lace,as a distinctive exogenous handicraft of that era,has been serving the country’s economy by generating foreign exchange through rural handicraft industries.Within local society,it was integrated into the economic structure of Jiangnan rural households as a modern form of women’s needlework,intertwined with the daily lives of local women.It became an integral part of their collective knowledge and experience,embodying individual traditions.Over time,Xiaoshan Lace became entrenched in the local tradition by incorporating itself into the local Qixi Festival,breaking away from its Catholic connotation by merging with local Buddhist and folk beliefs.In the era of liberal market economy and intangible cultural heritage,lace makers,through the method of“cultural appropriation”,continuous to enrich and enhance the relationship between lace-making and intangible cultural heritage,as well as national symbols.They embedded individual and social folk handicrafts into the collective destiny of the nation,accomplishing the process of traditional localization of exogenous handicrafts and serve as a paradigm for exploring the normative interactions and influences among different cultures.
作者
袁玮聪
徐赣丽
YUAN Weicong;XU Ganli(School of Social Development,East China Normal University,Shanghai 200241,China)
出处
《自然与文化遗产研究》
2023年第4期10-17,90,共9页
Study on Natural and Cultural Heritage
