Wang Anyi’s Reflection And Construction Of The Traditional View Of Skills

Wang Anyi prefers craftsman to write,and she even compares her writingprocess to craft creation.The craftsmen described by the writer come from allwalks of life,including carpenters,shoemakers,hairdressers,tailors,embroiderers,chefs,etc.The reason why the writer penetrated into these distinctive groups isrelated to the modernity anxiety caused by the rapid development of science andtechnology at the turn of the century.Craftsmen connect tradition and modernity,and they are the bearers of technology to the backlash of craftsmanship.Wang Anyitried to reshape the traditional craftsmen,blending the sensibility and rationalspirit of Chinese and Western science and technology into it,and innovativelyconstructing a new modern art concept of "Techniques can be poetry,and art canbe things".The artisan creations in Wang Anyi’s works are numerous,but they have notattracted widespread attention from the research community.Therefore,theintroduction of this article first defines the concept of "craftsman",delimits thegeneral scope of the text research based on this,and confirms the feasibility of thetopic selection;then,through the analysis and thinking of the research status,theresearch significance,innovation points and methods of this article are putforward.The first chapter systematically introduces the characteristics of ancientChinese craftsmen,who are both "shou" and "heart",according to a longitudinalcombing method;then it summarizes and analyzes the writing status and typicalcharacteristics of craftsmen in the history of modern and contemporary literature:The traditional spokesperson and The elegy of the times;finally,I look at thecraftsmen in Wang Anyi’s writings,from the three levels of "craftsmanship first,dazzling skills first","thinking and writing in harmony,illusion and unity",and "through history and advance with the times".The artist’s image of "harmonywithout difference" described by the writer is summarized and refined.The second chapter focuses on the confrontation between crafts andtechnology,combined with the modernity anxiety caused by technology,from thetheoretical perspectives of time and space,gender,etc.,it conducts research on thecraftsmen described by the writer.First of all,facing the squeeze of the survival time and space of Western technological rival artists,Wang Anyi insists on theflexibility of the craftsman’s living space and emphasizes the reshaping of the spacewith the craft;at the same time,she advocates that craftsmanship should endowartifacts with unique historical and cultural connotation and lasting vitality,andextend time compressed by modernity.Secondly,in the face of the double attack ofmoney worship and technological duplication caused by technology,Wang Anyiasked his craftsmen to grasp the principles of objects from the return of objects,and use their instinct to "cherish objects" to fight against the symbolic crisis ofconsumerism,using the spiritual loneliness insists on counteracting the alienationof human nature caused by the "loneliness" emotion of modernity;at the sametime,focusing on the image of female craftsmen in Wang Anyi’s writings,he refinesthe uniqueness of the writer’s female vision in the details.Wang Anyi’s uniquegrasp of femininity not only breaks the blind spot of writing by male craftsmen inthe literary world,but also moderately responds to the gender inequality caused bythe supremacy of Western technology.The third chapter intervenes from the traditional and modern perspectives,first analyzes the differences between Chinese and Western civilizations,andexplores Wang Anyi’s creative attitude towards sensibility and rationality toexplore the thinking track of the construction of the craftsman’s view ofcraftsmanship.Then from the perspective of "secular romance,livelihood first" andthe two aspects of "sentimental lyricism,utensils for beauty" systematically explainthe concrete connotation of the new modern art concept of "techniques can bepoetry,and art can be things".Finally,returning to the folk level,it furtherdemonstrates that the construction of this view of art is the inheritance of the MayFourth tradition,especially Lu Xun’s "Legitimate Failure Seek the Wild" and ShenCongwen’s "Heaven and Earth" and "Lyrical Archaeology",thus completing WangAnyi’s journey of "seeking the roots" of Wang Anyi’s new artistic concept.