| Karmai pottery culture as one of the important traditional Tibetan folk arts and crafts culture is an important part of Tibetan National Traditional Culture. Under the protection of intangible cultural heritage and the modern co-operative production context, Karmai pottery facing cultural choice Cooperative production and traditional folk arts and crafts heritage protection and development.This paper uses the research methods of anthropology of art, the status quo Karmai ceramic art of investigation and study, to show the production process and the type of pottery Karmai pottery; using the theory and methods of artistic aesthetics, folk art studies, more comprehensive It reveals the traditional culture Karmai pottery, artistic style and cultural connotations, etc; marketing through art and artistic research methods of economics, the protection of heritage and development Karmai pottery to sort out. In this paper, through the study of the above points, carded, and finally to show the overall appearance Karmai pottery cultural ecology and inherent cultural characteristics.Karmai pottery production began in the tenth century AD, pottery making has 1,300 years of history, with its variety, good quality, wide applications, products handsome, generous and practical advantages, famous inside and outside Xigaze. Wherein Langka, Karma benefits of two major pottery villages dot Karmai of 2014, two villages in the ceramics industry 90, employing up to 480 people, accounting for 43% of the total population of the two villages. Ceramics pottery artists also give the two villages has brought huge economic benefits. Tibetan traditional pottery dignified honest, and acting degree, is a muddy terracotta. Karmai modern pottery complex structure, in the form of beautiful and peculiar shape, decoration and diverse. Art Pottery form not simply to the needs of life and the creation of functional objects, ceramics artists are increasingly based on people’s need to make people expected utensils. Karmai pottery was originally based on a visual artifacts form appears, showing the most primitive living nature- life of equipment. From the shape look modern pottery pottery artists absorbed the style and shape of the performance of the mainland or the Tibetan original decoration pottery porcelain modeling style and interior, the traditional method of creative thinking and modern things combine to form pottery making increasingly the more diversification, but without losing the characteristics of folk arts and crafts.Since the reform and opening up, Tibet, advances in technology, human progress, traveling thousands of miles. In support of scientific and technological strength, the traditional spatial distance is no longer the distance, the traditional geographic barriers no longer stop the inter-ethnic increasingly frequent, close contacts and exchanges between blend of pace. Karmai Government expects learn Taba village pottery introduction of advanced machining equipment, promote local economic development. But concerns about mass production of pottery vessels make local folk crafts pottery culture continues to decline gradually dying out. It is necessary to develop the local economy but also the protection and development of the local folk crafts pottery culture, co-existence approach is the township government in the introduction of advanced industrial equipment to do co-operative production, while the government should not only increase investment to support the development of traditional cultural industries but also to provide legal protection. Firm legal basis to do reform, the implementation of the principle of the rule of law, "there are laws must be strictly enforced, violators are prosecuted," promote the work into the legal track to achieve organic legalization run. |
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