The Study On Aesthetics Of Intangible Cultural Heritage

In the present study,we mainly discuss “Intangible Culture Heritage”(ICH)as a new form of folk art after the 1990 s.In terms of form,the contemporary non-legacy is presented as a site-specific art(Site-Specific Art)that is carried out at a specific site and carried out by the inheritor and the participants.In terms of content,ICH communicates past and present through language,performance,skill and other configuration activities,and becomes a cultural and emotional complex that links the roots of culture,the emotions of ethnic groups,and the experience of inspiring each other.This kind of "lived" space art breaks the holistic and continuous imagination of space in traditional dual thinking with the spiritual vision of body,bottom and upper,inside and outside.It is a classic aesthetic.A breakthrough in the aesthetic view.This thesis takes the experience of non-legacy aesthetics as the research object,focusing on the on-the-spot nature of the ICH,the ICH aesthetic experience,the different perceptions of ICH and its contemporary identity,the non-existent urban space turn and re-identification.Analysis and discussion,pointing out that Contemporary ICH from "object" to "field",behind the evolution of aesthetics from static to dynamic,is the realization of the principle of local identity to mutual enjoyment.Therefore,we have opened up the fog that hinders us from understanding the generation of the aesthetic meaning of ICH.Chapter 1.The first chapter mainly discusses the necessity and possibility of ICH aesthetic research.In the process of “de-synchronization” in the post-industrial era,the inheritance system based on the combination of masters and apprentices and oral communication under the local cultural system was broken.The focus of cultural meaning was centered on local inheritance and family-centered blood relatives were transferred to the government culture department.The lack of inheritance,lack of belonging,and structural convergence of related ethnic groups all indicate the limitations of morphologicalization of ICH protection.After the 1990 s,the ICH re-entered the state’s "discourse practice" in the context of cultural pluralism protection,the subjectivity of related ethnic groups gradually became prominent,and its meaning interpretation shifted from local discourse to contemporary cultural field,and the main inheritance The way also shifts from oral communication,mentoring and apprenticeship to the sharing of cultural memory.This turn indicates that the core of cultural identity is changing from the promotion of local identity to the display of cultural identity.Under this background,the emergence of non-legacy aesthetic research has promoted the combination of cultural pluralistic ecological concept and ICH protection.The second part,through the comparison of Chinese and Western aesthetics,emphasizes that under the influence of the classic aesthetic paradigm of speculative,metaphysical and historicalism,the strong "enlightenment" in the study of folk literary aesthetics is transforming the small traditional culture into a refined and popular taste.the form that everyone can accept and appreciate,deviates from the inner logic of folk literary aesthetics,and obscures the aesthetic mechanism of collective unconsciousness and cultural memory.The third part focuses on the generation of non-legacy and self-discipline and its particularity.The relevant literatures such as the ICH Convention outline a contemporary inheritance path for folk literature and art that tends to be marginalized.The Convention recognizes the recognition of “respect”,“recognition” and “inter-subjective”,as well as ICH.The establishment of the heritage protection system indicates the aesthetic nature of contemporary ICH as the "life-world" of contemporary people.Through the outline of the contemporary nature of ICH,this chapter illustrates the importance and possibility of the “interest” aesthetic ideal in the context of multicultural protection.Chapter 2.Combined with relevant poetics,aesthetics,the second chapter researches on held “folk songs”、“performance ” and “ Thick description ” and so on,aesthetic concepts,poetics,aesthetics research in interpretation of the interpretation strategy in the aesthetic experience.The first part mainly sorts out the theoretical viewpoints of “folk song”,and “performance poetics”,and tries to point out the historical turn of folk literature and art poetics from culture to space.The second part discusses the three dimensions formed by the cultural practice and spatial coupling of intangible cultural heritage: with and without,below and above,inside and outside.The “Thick description” of Ethnographic Poetics reveals the deep structure of cultural memory and cultural imagination from the perspective of subject’s mind.On this basis,based on the existing research thought clues,the third put forward the concept of “the aesthetic”,and “lived” is connected with the secrets of the collective unconscious surface or the bottom,also linked to the survival situation of kin “lived” space,surrounding the site situation of the aesthetic study to body and from body,up and down,inside and outside of the mind vision has broken the traditional binary thinking in imagination the integrity and continuity of space,make the intangible aesthetics into the aesthetic study of the diversity of internal heterogeneous clutter characteristics,Achieve an aesthetic cognition of intangible cultural heritage based on spatial clues.Chapter 3.This chapter is the aesthetics and cultural analysis of typical cases,which is a specific study of the aesthetic connotation and cultural characteristics of traditional Chinese folk literature and art.From the perspective of site-specific aesthetics,this paper analyzes the perception mode and contemporary identification of contemporary folk handicraft,oral literature and folk performance by combining with specific field cases.Through the "language" of mind and thing,sound and thing,performance and view,different folk art opens the essence of technique,dialect and performance in the isomorphic relationship of things.In the isomorphic relationship between the heart and the daily life of the people,Jinling carving art shows us the profound world of wood;In the isomorphic relationship between sound and daily life,Jingjiang Baojuan awakens the "poetic imagination" that has been sleeping for a hundred years;In the sound and the content of the collective unconscious,Nantong Tong Zi play to "image" 、"singing" 、"Performance" presented the ancient Nuo profound connotation and unique interest of local life.In intangible artistic contemporary identity,the life and isomorphism "object" of the "acoustic image the image of" performance "rise" as a symbol of aesthetic existence,through to mix and rewriting,finished in a public situation survival emotional identity,again after the smoke away from the traditional process of individualization and into the expansion of the township "cycle.This kind of traditional identification originates from the isomorphism of the emotional relationship between the scene aesthetic structure and the daily life world,which provides a concrete aesthetic path for the mutual enjoyment and symbiosis of culture in a real sense.Chapter 4.The fourth chapter looks into the logic of the aesthetic development of ICH in contemporary space.The “acceleration” effect in the post-industrial era promotes the fractalization of the inner space of the subject.In the contemporary urban spatial turn,the multicultural factors hidden by the mainstream ideology are also the memory of the “different time”.Reappeared in the network micro-space,the structure art of “local situation” has evolved into a multi-dimensional and mutually exclusive domain art.From the pursuit of formal folk literary aesthetics to the cultural inter-environment aesthetics of the post-urban space,it has created hierarchy a richer and more diverse aesthetic perspective.In terms of form,the contemporary ICH "space" is incorporated into the field aesthetic,and the combination of different time and collective memory has a new way of aesthetic discourse-decentralization;in content,ICH aesthetic statement expands from physicality and event to the place.Ending part.The conclusion part explains the theoretical innovation and limitations of ICH aesthetics.The emergence of “intangible” protection and inheritance issues has a natural relevance to cultural identity and differences in the context of globalization.Behind the issue of ICH protection and inheritance is the conflict situation constructed by cultural atomism and communitarianism,difference and identity.Although the study of ICH aesthetics reveals the aesthetic evolution of contemporary non-legacy from "thing" to "field",the condition of this traditional spatial reconstruction lies in the decentralization of heterogeneous space and the mutual sharing of collective memory in emotional relationship,thus realizing the lively inheritance and symbiotic development of the contemporary ICH.However,while strengthening the sense of identity and identity as a cultural tradition,it is still necessary to explore the reality of the community’s consciousness and the “shared” spirit in the contemporary context of globalization and multicultural conflicts.