关于米开朗基罗论文范文资料

文艺复兴时期伟大的艺术家米开朗基罗·布欧纳罗蒂是直观艺术史上的杰出人物。米开朗基罗是一位才华横溢的画家、雕刻家和建筑师，给人类留下了风格各异的传世之作，四个多世纪来给观赏者留下了不可磨灭的印象。他的作品对欧洲绘画和雕塑艺术随后的发展有着深刻的影响。米开朗基罗于1475年生于意大利卡普里斯镇，离佛罗伦萨大约四十英里。他早年就显露出天赋，13岁时在佛罗伦萨师从著名画家基兰达约。米开朗基罗15岁被带到麦第奇宫殿中生活，几乎是被佛罗伦萨君主伟大的罗廉佐看成为麦第奇家族的成员，罗廉佐成了他的保护人。米开朗基罗在整个生活期间都显露出了卓越的才华，常受教皇和非宗教君主委托设计制作艺术作品。他虽然在许多地方生活过，但是他一生的大部时光是在罗马和佛罗伦萨度过的。1564年他在临近89岁寿辰之际去世。他从未结婚。虽然米开朗基罗并不象他的同时代的老前辈列奥纳多·达·芬奇那样是一个全面的天才，但是他的多才多艺，也给人们留下了其极深刻的印象。实际上他是在人类奋斗的两个独立领域里的成就都曾达到顶峰的唯一的一位艺术家，也许是唯一的人物。作为一位画家，米开朗基罗无论从他传世作品的质量，还是对历代画家的影响来看，都是无与伦比的。他为装饰罗马西斯廷教堂天花板那套巨型壁画被真正地誉为是历代最伟大的艺术成就之一。但是米开朗基罗认为他自己主要是位雕刻家，许多评论家都认为他是曾出现过的最伟大的雕刻家。例如他创作的大卫雕像、摩西雕像和著名的圣母抱基督尸体哀戚之雕像皆堪称为登峰造极的艺术品。米开朗基罗也是一位独具匠心的建筑师。他在这方面取得的辉煌成就之一就是设计了佛罗伦萨麦第奇教堂。他还为罗马的圣·彼得担任多年的总工程师。米开朗基罗在一生中创作了许多首诗歌，至今尚存下来的大约有300首。他的众多首十四行诗和其他韵体诗直到他去世后很久才发表。这些诗可以使我们深刻地了解他的个性，也清楚地表明了他是一个天才的诗人。在莎士比亚一章中已经说明，我确信文学艺术和文学艺术家对人类历史和日常生活相对来说并没有什么影响。就是由于这个原因，我才把米开朗基罗在本册中的名次排在许多科学家和发明家之后，尽管他是一位杰出的艺术天才并且远比他们中的许多人有名气。摘自：湖北教育出版社《历史上最有影响的100人》

主要内容：

米开朗基罗（Michelangelo Bounaroti，1475.3.6－1564.2.12），意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表。

1475年3月6日生于佛罗伦萨附近的卡普莱斯（卡波热斯），父亲是当地的一名法官，脾气爆烈，但是惧怕上帝。母亲在米开朗琪罗六岁的时候就死了。

他13 岁进入佛罗伦萨画家基尔兰达约（Ghirlandaio）的工作室，后转入圣马可修道院的美第奇学院作学徒，在那儿他接触到了古风艺术的经典作品和一大批哲人学者，并产生了崇古思想。时兴的新柏拉图主义和受到火刑惩处的多名我会教士萨伏那洛拉给了他一生最重要的影响。

人物形象：

米开朗基罗最初本无意做一位画家，他的志向是成为一位雕刻家，并且只在意"雕"而不在意"塑"：像人们挣脱自己的肉体束缚一样，获得存在的形式。这正是新柏拉图主义的教条。

人物简介：

米开朗基罗·博那罗蒂（Michelangelo Buonarroti，1475年3月6日—1564年2月18日），又译“米开朗琪罗”，意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表，与拉斐尔和达芬奇并称为文艺复兴后三杰。

他的父亲是洛多维科·迪·莱昂纳多·博那罗蒂·迪·西蒙尼（Lodovico di Leonardo Buonarroti di Simoni）他的母亲名叫弗朗切斯卡·迪·内里·德尔·米尼亚托·迪·锡耶纳（Francesca di Neri del Miniato di Siena）。

他一生追求艺术的完美，坚持自己的艺术思路。他于 1564 年在罗马去世，他的风格影响了几乎三个世纪的艺术家。

小行星 3001 以他的名字命名来表达后人对他的尊敬。

扩展资料：

在《米开朗基罗传》的结尾，罗曼·罗兰说，伟大的心魂有如崇山峻岭，“我并不认为一般人都能生活在高山之巅。但不妨一年一度登高礼拜。他们可以在那儿更新肺部的气息和脉管中的血液。在高处，他们会感到更加接近永恒。

待回到人生的平原，他们将满怀勇气面对日常的搏斗。”对于我们的时代，这实在是金石之言。《名人传》非常好地印证了一句中国人的古训：“古之立大事者，不惟有超世之才，亦必有坚忍不拔之志。”

贝多芬的“在伤心隐忍中找栖身”，米开朗琪罗的“愈受苦愈使我喜欢”，托尔斯泰的“我哭泣，我痛苦，我只是欲求真理”，浮躁和急功近利或许会使我们取得成就。

毕竟“天将降大任于斯人也，必先苦其心志，劳其筋骨，饿其体肤，空乏其身，行拂乱其所为，所以动心忍性，曾益其所不能。”我们的时代千变万化，充满机遇，我们渴望成功，但我们却不想奋斗。我们要的是一夜成名。

浮躁和急功近利或许会使我们取得昙花一现的成就，但绝不能让我们跻身人类中的不朽者之列。我们周围的空气多沉重,老大的欧罗马在重浊与腐败的气氛中昏迷不醒。

鄙俗的物质主义镇压着思想，阻挠着政府与个人的行动。社会在乖巧卑下的自私自利中窒息以死。人类喘不过气来。——“打开窗子吧！让自由的空气重新进来！呼吸一下英雄们的气息。”

《名人传》，又称《巨人三传》，是19世纪末20世纪初法国著名批判现实主义作家罗曼·罗兰创作的传记作品，它包括《贝多芬传》、《米开朗琪罗传》、《托尔斯泰传》三部传记。《名人传》创作于二十世纪初期，无论在当时是在后世都产生了广泛的影响。

传记里的三人，一个是音乐家，一个是雕塑家兼画家，另一个是小说家，各有自己的园地，三部传记都着重记载伟大的天才，在人生忧患困顿的征途上，为寻求真理和正义，为创造能表现真、善、美的不朽杰作，献出了毕生精力。

《名人传》创作于二十世纪初期，无论在当时还是在后世都产生了十分广泛的影响。在这三部传记中，罗曼·罗兰没有拘泥于对传主的生平做琐屑的考述，也没有一般性地追溯他们的创作历程，而是紧紧把握住这三位拥有各自领域的艺术家的共同之处。

着力刻画了他们为追求真善美而长期忍受苦难的心路历程。罗曼·罗兰称他们为“英雄”，以感人肺腑的笔墨，写出了他们与命运抗争的崇高勇气和担 负全人类苦难的伟大情怀，可以说是为我们谱写了另一阕“英雄交响曲”。

那么，对于今天的读者们来说，告别崇高而自甘平庸、崇尚平庸的社会《名人传》又能给予我们什么呢？在一个物质生活极度丰富而精神生活相对贫弱的时代，我们宁愿去赞美他们的作品而不愿去感受他们人格的伟大。

《名人传》写作目的崇高，创造精神世界的太阳，呼吸英雄的气息，使人们在痛苦、失望的现实中获得心灵上的支撑。《名人传》洋溢着一股旺盛的激情。每一个阅读《名人传》的读者首先都会强烈地感受到作品中无法抑制的热情，都会为罗兰那极富感召力的语言而怦然心动。

罗曼·罗兰（法语：Romain Rolland，1866年1月29日－1944年12月30日），20世纪的法国著名思想家、文学家、批判现实主义作家、音乐评论家、社会活动家。作为作家，他创作了《约翰·克里斯多夫》、《母与子》（又名《欣悦的灵魂》）等作品，除此之外还获得1915年的诺贝尔文学奖。

他的小说特点被人们归纳为“用音乐写小说”，也是传记文学的创始人。作为社会活动家，他一生坚持自由真理正义，为人类的权利和反法西斯斗争奔走不息，被称为“欧洲的良心”。

参考资料来源：百度百科-米开朗琪罗

Italian sculptor, painter, architect and poet. He was one of the founders of the High Renaissance and, in his later years, one of the principal exponents of Mannerism. Born at Caprese, the son of the local magistrate, his family returned to Florence soon after his birth. Michelangelo's desire to become an artist was initially opposed by his father, as to be a practising artist was then considered beneath the station of a member of the gentry. He was, however, eventually apprenticed in 1488 for a three-year term to Domenico Ghirlandaio. Later in life Michelangelo tried to suppress this apprenticeship, implying that he was largely self-taught, undoubtedly because he did not want to present himself as a product of the workshop system which carried with it the stigma of painting and sculpture being taught as crafts rather than Liberal Arts. Nevertheless, it was in Ghirlandaio's workshop that Michelangelo would have learnt the rudiments of the technique of fresco painting. Before the end of his apprenticeship, however, he transferred to the school set up by Lorenzo the Magnificent in the gardens of the Palazzo Medici. Here he would have had access to the Medici collection of antiques, as well as a certain amount of tuition from the resident master, Bertoldo di Giovanni. His work here included two marble reliefs, a Madonna of the Steps (Casa Buonarroti, Florence), carved in rilievo schiacciato and showing the influence of Donatello (Bertoldo's master) and a Battle of the Centaurs (Casa Buonarroti, Florence), based on Bertoldo's bronze Battle of the Horsemen, which itself appears to be based on an antique prototype. Either at this time, or when he was in the Ghirlandaio workshop, Michelangelo also studied from and drew copies of the frescos of Giotto and Masaccio. "With the death of Lorenzo in 1492, the school broke up and Michelangelo was given permission to study anatomy at the hospital attached to Sto Spirito. In gratitude to the prior for allowing him this privilege he carved a wooden Crucifix (the one now in the Casa Buonarroti is considered by some scholars to be the work in question). In October 1494, Michelangelo transferred to Bologna and was awarded the cornmission for three marble figures to complete the tomb of St. Dominic in S. Domenico Maggiore, begun by the recently deceased Niccoló dell' Arca. By June 1496 he was in Rome and here established his reputation with two marble statues, the drunken Bacchus (c 1496-7; Florence, Bargello) for a private patron and the Pietá for St. Peter's (1498-9). The latter is generally considered to be the masterpiece of his early years, deeply poignant, exquisitely beautiful and more highly finished than his later works were to be. In creating a harmonious pyramidal group from the problematic combination of the figure of a full-grown man lying dead across the lap of his mother, Michelangelo solved a formal problem that had hitherto baffled artists. He returned to Florence a famous sculptor and was awarded the commission for the colossal figure of David to stand in the Piazza della Signoria, flanking the entrance to the Palazzo Vecchio (1501-4, original now in the Accademia). Soon after this he was cornmissioned to paint a battle scene for the new Council Chamber of the Palazzo. On one wall he commenced the painting of the Battle of Cascina, while on the opposite wall his principal rival, Leonardo, was commissioned to paint the Battle of Anghiari. Although neither painting was ever finished, copies of a fragment of Michelangelo's full-size cartoon, showing a group of nude soldiers reacting variously to the battle alarm that has interrupted their bathing, soon began to circulate (e.g. Earl of Leicester Collection, Holkharn Hall, Norfolk). These nudes, posed in a variety of turning and animated poses, established the Mannerist conception of the male nude as the principal vehicle for the expression of human emotions. "Michelangelo abandoned this Florentine commission when Pope Julius II summoned him to Rome to design his tomb. What should have been the most prestigious commission of his career, a free-standing tomb with some 40 figures, to be located in St. Peter's, became, in Michelangelo's own words, the 'tragedy of the tomb'. Julius died in 1513, the contract was redrawn several times over the following years with ever-diminishing funding, other demands were made on Michelangelo by successive popes, and the project was finally cobbled together in 1545, a shadow of its original conception, with much help from assistants, in S. Pietro in Vincoli Julius' titular church). The tomb is now principally famous for the colossal figure of Moses (c 1515), one of Michelangelo's greatest sculptures. Two slave figures, The Dying Slave and the Rebellious Slave (c1513), intended for the largest of the schemes for the tomb, are now in the Louvre in Paris, and four unfinished slaves, from an intermediate stage when the tomb had been only slightly reduced, are now in the Accademia in Florence. The four unfinished slaves reveal eloquently Michelangelo's sculptural process: the figure would be outlined on the front of the marble block and then Michelangelo would work steadily inwards from this one side, in his own words 'liberating the figure imprisoned in the marble'. As the more projecting parts were reached so they were brought to a fairly finished state with those parts further back still only rough-hewn: thus the figures of these slaves literally appear to be struggling to be free. The (unintentional) pathos specifically evoked by the unfinished state of figures such as these and the St. Matthew (Accademia, Florence) exerted a tremendous impact on Rodin who recognized in them expressive possibilities that would be lost in a 'finished' piece. "While in the early stages of work on the Tomb, Julius also commissioned Michelangelo to paint the ceiling of the Sistine Chapel. Michelangelo was evidently reluctant to abandon his sculptural project for one of painting (always much less satisfying to him), but he nonetheless began work in 1508, completed the first half by 1510 and the whole ceiling by 1512. Dissatisfied with traditional methods of fresco painting and mistrustful of assistants who could not meet his evolving demands, he dismissed his workshop at an early stage and completed the monumental task almost single-handedly. The main scenes - the histories - in the centre of the shallow barrel vault, alternate larger and smaller panels and represent the opening passages of the Bible, from the Creation to the Drunkenness of Noah with, at each of the corners of the smaller panels, idealized nude youths, variously interpreted as angels or Neoplatonic perfections of human beauty. The histories are treated like quadri riportati with a horizon parallel to the picture plain. The ignudi, however, inhabit a different reality - one created by the fictive architecture which also forms the shallow space occupied by the enthroned prophets and sibyls (those who foretold Christ's coming) located towards the sides of the vault. Lower down still, in the Nunettes above the windows, are the ancestors of Christ and, at the four corners of the ceiling, Old Testament scenes that prefigure Christ's Crucifixion and thus humanity's salvation. The programme of the ceiling, life before the establishment of the Mosaic Law, relates it to the frescos of the lives of Moses and Christ by Perugino and other artists on the walls below. Michelangelo gives a poignant account of his gruelling task, painting bent over backwards, his neck permanently arched to look up, his arm stretching upwards to wield his brush, in one of his sonnets. The break in work in 1510 allowed him to see the effect of the fresco from the ground (hitherto hidden by scaffolding) and in the second half (that closest to the altar wall) there is a perceptible simplification of detail and a corresponding monumentalization of figure style. Always heralded as the supreme example of Florentine disegno, the recent restoration has also revealed Michelangelo to have been a brilliant colourist. "In 1516, the new pope, Leo X (Giovanni de'Medici) commissioned Michelangelo to design a facade for San Lorenzo, the Medici parish church in Florence. The commission came to nothing (the facade is unfinished to this day), but this unfulfilled scheme led to his two earliest architectural masterpieces, the Medici Chapel (or New Sacristy) attached to San Lorenzo and the Laurentian Library. Again neither was to be finished. Nevertheless, the 'molten' stairway and the architectural elements of the entrance hall to the library, whose positioning deliberately contradicts the structural function of their prototypes, are seminal in the foundation of architectural Mannerism. The Medici funerary chapel (planned from 1520, abandoned when the Medici were temporarily expelled from Florence in 1527, recommenced in 1530 and left incomplete in 1534) was intended to be a fusion of architecture and sculpture accommodating the tombs of four members of the family. The idea was that looking from the altar, moving past the tombs, one's gaze would be directed by the gaze of the tomb figures who turn towards the far wall and the Madonna holding upon her lap the Christ child, whose sacrifice had made possible the Resurrection of the soul of the faithful to everlasting life - the climax to the iconographical programme of the mausoleum. Only two tombs were completed and the Madonna and Child was half completed. Beneath the seated figure of Giuliano ('vita activa') are reclining figures of Day and Night and beneath that of Lorenzo ('vita contemplativa'), Dawn and Evening. These reclining figures symbolize mortality through the passage of time. "In 1534 Michelangelo departed for Rome, never to return to Florence. From now on he worked mainly for the papacy. Soon after his arrival Pope Clement VIII commissioned him to paint the fresco of the Last judgement for the Sistine Chapel (work commenced under Pope Paul III in 1536, completed in 1541). The spirit of the work is totally different from that of the ceiling unveiled 29 years earlier. In the interim, the Church had been torn apart by the Reformation, Rome had been sacked (1527), and Michelangelo's fresco breathes the new militancy of the Catholic Counter-Reformation. The optimism and confidence of the ceiling is replaced by the pessimism and emotional turmoil of the altar wall: saints swarm around the Apollo-like figure of Christ, wielding their instruments of martyrdom, seemingly demanding righteous judgement on the sinners stirring to life from the bare earth at the bottom of the picture. The Last judgement was intended as the climax of the chapel's account, represented in coherent stages, on the ceiling and walls, of the Christian history of the world. This was Michelangelo's most controversial work to date and was as much condemned (for its nudity) as it was praised (for its artistry). After the death of Michelangelo, the fresco was nearly destroyed, but the Church authorities settled for Daniele da Volterra painting draperies over the offending nudity. "Following the Last Judgement Paul III commissioned from Michelangelo his two last major frescos for the Capella Paolina, the Conversion of St. Paul and the Martyrdom of St. Peter (1542-50). The same troubled spirit imbues Michelangelo's sculpture from this time, the Pietá (now Florence, Cathedral Museum), intended for his own tomb shows himself as Nicodemus - again, a comparison with the St. Peter's Pietá is eloquent testimony to the spiritual uncertainty of these later years. In the year of his death, his 89th year, he was working on yet another pietá, the Rondanini Pietá. In 1546 Michelangelo was appointed Chief Architect to St. Peter's and charged with the completion of the new church, the most prestigious architectural commission in Christendom. Rebuilding had almost ceased with the death of Bramante in 1514, but Michelangelo, as reluctant to engage in architectural commissions as he had been with painting, had brought the work almost to completion (as high as the drum of the dome) by the time of his death. The dome was erected after his death, to his designs but with some modifications (e.g. Michelangelo's hemispherical profile was made much steeper). Also the nave was lengthened in the 17th century changing Michelangelo's Greek cross plan to a Latin cross plan, and consequently the majesty of the dome is much obscured by the balustrade of the Baroque facade. "Whether in painting, sculpture or architecture, Michelangelo's influence has been immense. Although he restricted himself to the nude in painting, his expressive use of the idealized human form had a tremendous impact on contemporaries and future generations - even Raphael was not above directly referring to the Sistine Chapel sibyls, with his fresco of Isaiah in Sant' Agostino. Furthermore, there was not a major Italian sculptor of the 16th century whose style was not formed under the influence of Michelangelo, or in direct reaction against him (e.g. Bandinelli). He was the first artist to be the subject of two biographies in his lifetime - those of Condivi and Vasari - with the latter doing much to promote the view of Michelangelo as the consummation of a progression towards artistic perfection that had begun with Giotto."

米开朗基罗美术绘画特色论文1.据我个人观察，可以简单的概括为：粗犷，线条感很强，米的用色淡。巴洛克建筑最早可追溯于米开朗琪罗的雄强风格和大胆设计.2.民间美术艺术语言 民间美术与民俗活动关系极为密切，如民间的节日庆典、婚丧嫁娶、生子祝寿、迎神赛会等活动中的年画、剪纸、春联、戏具、花灯、扎纸、符道神像、服装饰件、龙舟彩船、月饼花模、泥塑等以及少数民族民俗节日中的服饰、布置等。民间美术分布于各地，因地域、风俗、感情、气质的差异又形成丰富的品类和风格。但它们都具有实用价值与审美价值统一的特点。另外，它们的制作材料大都是普通的木、布、纸、竹、泥土，但制作技巧高超、构思巧妙，擅长大胆想象、夸张，且常用人们熟悉的寓意谐音手法，积极乐观、清新刚健、淳朴活泼，表达了对美好生活的憧憬与理想，富有浪漫主义色彩。3.民间美术融合 第一，它的内容是理想主义的。民间美术主要表现人们生活理想与精神理想。理想主义的艺术都具有浪漫成分。可以说民间美术（尤其是乡土美术）不是现实和写实的艺术。 第二，民间美术的核心价值观是祥和。祥和是社会与人间一种很高的境界。它包括人际之间的和谐，人与大自然之间的“天人合一”。民间文化离不开团圆、祥和、平安和富裕这些概念，这是所有民俗的终极追求，也是民间美术千古不变的主题。 第三，民间美术有自己独特的审美体系。这种理想主义的艺术，在表达方式上是情感化的，在艺术手段上主要采用象征、夸张、拟人等，在色彩上持其独有的生生观和五行观。由于民间美术多用于生活的装饰，符号化和图案化是其重要特征之一。再有就是广泛使用的与语言相关的谐音图像——这是我国民间美术最具文化内涵与审美趣味的方式。 第四，我国民间美术地域性，体现其无比丰富的多样性。传统的民间美术（尤其是乡土美术）是在各自封闭的环境中渐渐形成的。不同民族和地域的不同历史、人文、自然条件，致使各地的乡土美术有其独自的表现题材、艺术方式与审美形态。在全球化时代的今天，这种地域个性鲜明的艺术，便成了独有的文化财富。 第五，还有一点很重要：它是手工的。手工是一种身体行为，手工艺术是人的情感和生命行为。手工艺术处处体现着艺人的生命情感，机器制作是没有的。在进入工业化时代，手工技能的本身就是一种重要的遗产。 民间美术的发展并不等于成批地进入市场。不是所有民间美术都可以像汽车工业那样“做大做强”。俄罗斯民间美术被产业化的，只有套娃和彩绘漆盒，埃及也只有纸莎草画。艺术品过于泛滥反而失去魅力。所以发展民间美术，不能贪大求快求多。 首先是民间美术要为整个民间文化的弘扬服务。我国的许多民间美术都是民俗生活中不可或缺的。比如婚丧民俗，再比如节日民俗，都有许多人们喜闻乐见的民间美术品。由于时代生活及其方式的改变，已不适用。比如由于现代家居装修的改变，没有对开的大门了，原先那样的成双成对、驱邪迎福的门神已无处可贴；而且现在的门框太窄，对联难以应用；再有，手工年画也无法像以前那样粘在墙壁上。可不可以做些改良呢？比如把门神作为一种传统的吉祥图样，改成小型单幅，装饰在门心（房门的正中）上，行不行？这两年春节时一些地方出现了一种“生肖剪纸”，专门贴在门心上。比方今年是猴年，刻一只聪明活泼的猴子的剪纸贴在门上，明年是鼠年，再换一种聪明机灵小老鼠的剪纸。年年更换，惹人喜欢，很受欢迎。这种生肖剪纸过去是没有的。但它的出现，既弥补了门神的缺失带来的节俗的缺失，又为剪纸找到一个新的“生活岗位”。民间美术本来就是民俗用品和生活文化。离开民俗就如同离开母体，孤立难存。民间美术要在设法丰富和加强民俗生活中，重新找到自己的存在价值。近十多年来，天津的剪纸市场（天后宫剪纸）之所以蓬勃发展，主要是剪纸艺人千方百计与生活所需紧紧拉在一起。比如这两年，一种两三厘米见方的福字很流行，它是专门贴在电脑屏幕上方的。别小看这小小的福字，它可以使数千年的情怀一下子将当代的生活点燃起来。它还使我们明白，在时代转型期间，其实不是人们疏离了传统，而是传统的情感无所依傍，缺少载体。如今，传统节日将要成为法定休假日，传统节日的复苏，使民间美术有了很宽广的用武之地。 接着还有一个问题更重要，传统民间美术到了今天，除去使用功能和审美功能之外，还有别的功能和价值吗？其实在传统民间艺术由生活中的应用文化渐渐转化为历史文化时，它已经发生了一种质的变化，在文化上质的变化。它由日常使用、司空见惯的寻常事物，悄悄转为一种历史的纪念、标志、符号、记忆，乃至经典。就像马家窑的陶器，原来只是再寻常不过的盛水的容器，现在却被视为尊贵，摆在博物馆的玻璃柜，还要装上报警器保护起来。现在不是已经有人开始把老皮影、手工版画、古代女工的绣片、朱金木雕的千工床上的花板，装在考究的镜框里，用来装饰豪华的酒店吗？据说对这种古老艺术品感兴趣的多为外宾。他们把这些艺术品当做东方古老文明一些美丽的细节。但我们自己为什么没有这么看这些昨天的民间美术？也许这些东西离开我们的生活还不久，我们还不能“历史”地看待它们。但随着时间的推移，我们也会渐渐将它们珍视起来。这就是说，传统民间美术到了明天，不再是能不能被应用，而是要转化为一种历史记忆和文化经典。我们的民间美术工作者是否能够走在时代前面，用一种新时代的角度与观念来对待这些传统文化，让这些古老的民间艺术以另一种——遗产的形态重新回到我们今天的生活。这是顺应时代转型的一种积极的方式，也是我们必须转变的观念。文化的转型和文化观念的转变应是同步的。最理想的是超前，最糟糕的是滞后。观念转变了，眼前的路就会无比宽阔，转型就容易得多。 再一个问题，是将民间美术与旅游文化相结合。我国现阶段旅游纪念品千篇一律，已是旅游事业中的大难题。旅游纪念品最大的特点与价值是，只有在旅游当地可以买到，到了其他地方就绝对买不到；反过来说，即使能买到也没人买。比方在巴黎附近的奥维和梵·高故居可以买到一种特别的干花——梵·高爱画的向日葵，这在巴黎圣母院是买不到的。倘若圣母院有向日葵卖也没人买，因为向日葵在巴黎圣母院没有任何纪念意义。从这一点说，民间美术最能成为旅游纪念品——这是由民间美术的地域性所决定的。乡土艺术尤其如此。如今我国已经有一些地方的乡土美术成为当地著名的旅游纪念品，十分受欢迎。比如蔚县的剪纸、陕西陇东的布艺、南阳的泥泥狗、武强年画、苏州刺绣等。但为数不多，主要是因为现阶段人们对这些民间美术的“开发”，很少是从旅游文化和旅游者的心理需求考虑的，人们还没有认识到乡土美术在旅游文化中的特殊价值，或者还不知道怎样使乡土美术成为当地旅游文化的一部分。这也是文化转型中一个重要的话题。这项工作我们准备召集专门的会议研讨。 上述谈了几方面的想法。这里有个关键问题，是谁来做？当然，民间艺人是主角。民间艺术的创造者是艺人，艺术当然首先是艺术家的事。民间艺术本来就是从民间艺人心里生发出来的。 然而，把所有难题都放在艺人身上是不行的。为其打开思路、排难解忧、建言献策是文化学、民艺学和美术设计学的专家学者包括学习这些专业的学生要主动承担的。 这因为，民间艺人是在长久的封闭的天地一隅之中代代相传，他们对外界的信息所知有限，对自己艺术的价值也并不十分清楚。当今民间美术面临的现代文明的冲击，空前猛烈，猝不及防，同时商业化的“话语霸权”又是不可抵抗。身在田野的乡土艺人恐怕来不及想明白，就已经被这文明更迭的风暴吹得晕头转向。如果完全凭仗他们一个个人单势薄的力量，很难完成这一时代性的转型。比较而言，城市的传统工艺由于原本就生存在市场之中，凭仗着材料的贵重与工艺的精湛，仍在市场里有一席之地。而对于以草木砖石为材料的乡土美术，谁能看到其文化价值和遗产价值？这必须由当代的专家学者——文化学、美术学、民俗学以及旅游方面专家学者出手相援。这也是我们一再呼吁专家学者把书桌搬到田野里去的最深切的缘故。 我国民间美术博大精深，灿烂多姿，但这是过去。今天我们的民间美术正在翻越一座大山，这大山就是转型，而且是全方位的转型。既是民间美术赖以存在的生活与社会的转型，也是它的应用方式和存在性质的转型。但面对这座高山时，我们大家一个也不能缺席，还要一起努力来翻越。翻越大山决非易事，单是传统审美与时代审美之间的问题怎么解决，就不是小事。可是如果翻越过这大山之后，最终只剩下少数的民间美术和不多的民间艺人，后世之人就一定咎罪于我们，责怪我辈的无能。我们不能坐等后世的口诛笔伐，而要迎上去，帮助我们的民间美术翻越这座时代转型的大山，让历史之花开放到未来。 4.米开朗基罗·博那罗蒂(Michelangelo Bounaroti, 1475－1564)，意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表。同时也是各国艺术家的佼佼者。