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皮画该走向艺术还是商业,并不是限制其发展的症结所在。传承、发展与创新民族皮画艺术,需要的是一个良性的大环境,走出一条成熟的产业化道路才是“突围”的关键。内蒙古皮画起源于古老的游牧文明,探寻最初的创作灵感,或许可以追溯至游牧先民烙在牲畜毛皮上的归属印记。从早期行军迁徙的羊皮地图到装饰牧人生活的精美饰物,皮画伴随着马背民族的生息繁衍,伴随着民族皮制品生产工艺的逐步完备,凝聚了一辈辈草原人的聪明智慧。皮画不仅选材考究,从压痕揉色、绘制定型、打眼装饰,到编缝起鼓、填充塑形、装裱出售,一件制品需要65道
It is not the crux of limiting the development of leather art to art or commerce. To inherit, develop and innovate the art of national skin painting, what we need is a benign environment. It is the key to break through a mature industrialization road. Inner Mongolia skin painting originated in the ancient nomadic civilization, to explore the original inspiration, perhaps dating back to nomadic ancestors branded livestock fur on the ownership mark. From the early marching sheepskin map to decorate the pastoral life, exquisite ornaments, leather painting along with the horse breed’s life and multiplication, accompanied by the gradual completion of the national leather products production process, unite the wisdom of generations of grass-roots people. Leather painting is not only well-selected materials, rubbing color from the indentation, drawing stereotypes, drilling eye decoration, to the stitching from the drum, filling shape, mounting for sale, a product requires 65