摘要
热贡唐卡艺术在传统至现代社会的变迁中,传承主体经历了从僧人到俗人,从男性到女性的多元化发展。社会性别理论强调的文化观念、制度安排、社会建构不仅投射于传统社会中的热贡女性,也同样作用于现代社会中出现的热贡唐卡女艺人。唐卡实践场域和唐卡市场化发展是女艺人产生的宏观背景,模件造像催生的劳动分工为女性介入唐卡绘制提供了契机,但是性别阻碍及其影响下的技艺实践又影响唐卡女艺人在边缘型、主导型生存路径中的选择。最终通过宗教式的技艺修行形塑艺人身份与增强其族群身份认同,并通过自身的主位化优势延续着传统的唐卡技艺。
In the transition from traditional to modern society,the inheritance subject has experienced the diversified development from monk to layman,and from male to female.The cultural concept,institutional ar rangement and social construction emphasized by gender theory not only projected the Regong women in the tra ditional society,but also focused on the female artiste of Regong Thang-ka.The practical field of Thang-ka and the marketization development of Thang-ka are the macroscopic background for female artists to emerge.The division of labor generated by model images provides an opportunity for women to get involved in Thangka painting.The reason for the emergence of female Thang-ka artists and the obstacles to their self-shaping through religious practice,gender concept and skill connection.
作者
王星星
WANG Xing-xing(College of Ethnology and Sociology,South-Central University for Nationalities,Wuhan 430074,China)
出处
《内蒙古民族大学学报（社会科学版）》
2019年第5期37-44,共8页
Journal of Inner Mongolia Minzu University：Social Sciences
基金
国家社会科学基金重大项目“南方少数民族手工艺资源体系与基因要素图谱研究”(项目批准号:17ZDA166)的研究成果
