文：贺丹  郭庆丰

一、本原文化：一个熟悉而又陌生的概念。

高速发展的全球化进程，在文化和艺术的意义上，凸现的并非是一体化的“共识”，而更多的却是区域的“差异”与文化的“多元”化形态。在这种大的发展情势下，由于近年来国内外文艺理论、实践与研究的不断推进，本原文化的概念也被前所未地凸显而出，逐渐成为文化与艺术界一个主要的命题。

那么什么是本原文化?它究竟以怎样一种形式存在着?靳之林教授在其几十年亲身调查实践中所撰写的《抓髻娃娃》、《生命之树》、《绵绵瓜瓞》等一系列着述，为这一文化形态奠定了基础，成为目前国内这一领域中的权威。由于各种各样的原因，在对历史上许多文化现象的考证和研究中，很少有人把目光专注于没有经传记载，没有文字可考的山高水长的民间。考古学家是通过偶然出土的文物和对个别遗址的发掘和考察研究中国历史文化的，往往难免此起而彼伏的断章取义；历史学家主要是通过历史文献的文字记载来研究中国历史文化的，那么文字之前的漫长历史和文字不能普及的众多民众的历史和文化便不能明确记载，因此也不曾被真正关注过。我 们在许多博物馆看到的大都是一部改朝换代的历代帝王史，更为悠久、更加辽阔的中国历史文化，实则处处留有空白悬案。“中国，被称为人类四大文明古国，其悠久的历史文化传统没有发生过文化断裂，它拥有众多民族、幅员辽阔的国土等独特的历史与地理条件，因此在其民间艺术、民间风俗民间文化中，仍然保存着极其丰富而古老的历史文化遗存。特别是那些作为中华文明始祖的几大原始社会部落集团氏族文化发祥地的地域，历史上曾经出现过光辉灿烂的氏族文化高峰，后来由于天灾人祸自然生态遭到严重破坏，成为交通封闭和文化封闭的地域。在这些地域的民间文化和社会生活包括民间美术作品之中，仍然可以看到极其丰富面完整的原生态的中国本原文化与本原哲学的各种表现形式。地下出土的文物不会说话，地上的活文物则为它作出了令人叹服的解释。作为春秋战国诸子百家哲学之源的中国本原哲学体系，仍然作为民间文化的哲学基础和主体内涵，无孔不入地、完整地积淀在各类民间美术作品中。”(靳之林《中国民间美术》引言，五州传播出版社)，民间的历史是人们代代相承，心口相传的历史，是一部活着的生活史，是依山傍水的人们与大自然相处与他们心目中的神灵相处的一部真实、生动、充满创造力、充满生命气息的历史。民俗文化与艺术的表达中，对于生命能够长久、绵延不绝就是人们的根本追求，也是宇宙万物一切生物的本能所在。关于这一点靳先生在其着作中也有明确总结：“生命与繁衍是宇宙万物一切生物的本能，生命意识与繁衍意识也是人类的基本文化意识，并由此升华为混沌划分阴阳，阴阳相合，化生万物，万物生生不息的中国本原哲学宇宙观。这种阴阳观与生生观统一的中国本原哲学体系，诞生于六七千年前的中国原始社会，构成中国本原文化宇宙观的核心。

二、西部，潜在的本原文化资源与优势。

西安美术学院地处中华民族文化的腹地，又是辽阔的西北五省唯一一所专业艺术院校。为了实现西安美术学院在历史和地域上的文化优势，也为了使靳之林教授关于中国本原文化和本原哲学创造性理论和他的研究方法，即深入社会生活实践为基础的民间文化、文化考古和古史文献三者结合相互印证的实践考察与研究方法能得以推广。西安美术学院决定成立在靳之林教授主持下的中国本原文化研究所，研究所具体地讲有以下两个特点：其一，研究所也是一个教学实践单位，不是一个系但他针对每个系和工作室开设必修课，也就是说在美院的本科教学中这是一门必须要 修完的基础课。其二，它的出发点是从文化的立场而非美术的角度。事实证明从美 术的角度只能对民艺做一些浅层次的赏析与驾轻就熟的模仿，从文化的立场就是从文化之本原上寻求更本质的联系和更多成长方式。它将从学生的综合素质上造成影响，并形成更加宽阔的接合点。

在美术学院乃至各高校的文艺史中，我们所熟知的春秋战国诸子百家的哲学，几乎都源于至今深深积淀于民族群体的社会生活之中，积淀于各类民间艺术作品之中的本原文化。它的文化内涵与艺术形态是长久历史发展过程中所形成的，其价值已远远超出了其本身的艺术价值，“具有丰富而深刻的哲学、美学、艺术学、考古学、历史学、民族学、社会学和人类文化学等等多学科的文化价值。从民族文化的整体来看，中国民间美术也体现了整个民族的哲学观念、文化意识、感情气质和心理素质。(靳之林《中国民间美术》)因此对于这一文化形态的研究继承和发展无疑为美术院校开创特色教育模式、奠定新的学术思想、形成新的造型体系，具有史无前例的重要意义。

一个民族必然有其不同于另～个民族的哲学观念、文化观念，以及存在于集体意识中的情感气质和心理素质，这也是一个民族之所以存在的理由和象征。我们虽然关注“诗言志”、“法天地”、“师造化”、“天人合一”、“阴阳五行”等诸子百家的各种学说，但我们并未真正关注过这些学说都发源于本原文化这一事实。我们经常赞叹民间艺术的喜庆、吉祥、健康、大气、大巧若拙等特征，但我们似乎不曾留意过，这是千百年间养成的我们整个民族共同的情感气质和心理素质。

三、本原文化保护与传承：现代大学的全新使命。

所谓国际经济支配下的一体化其实就是全盘西化。关于这一点在以往统一的教育模式下，我们有很多令人尴尬和伤痛的体会，而我们也无法回避那个永恒的问题：我们是谁?我们从何而来?我们到哪里去?“人类的遗传靠的是遗传基因的传承，人类各民族文化的传承，靠的也是民族文化基因的传承，即民族本原文化的传承，”(靳之林《中国民间美术》)因此关于中华民族本原文化的思考与探索，是整个民族文化与艺术传承中应当首先要思考的问题，这是我们在学习与创造中一个与生俱来的课题，也是高等艺术教育中继承祖先宝贵遗产追求个性情感气质，和一个院校存在的理由和象征。在过去的几千年里，我们多灾多难的民族没有消亡，我们的历史没有断代；如今在一体化进程突飞勐进之下，对一个民族的区域化特征的继承和发展已经到了生死关头。从长远看，真正的创造力和生存价值正源于我们中华民族自身的血脉，无论何时何地我们所做的必须是我们的艺术，唯此才有生存的必要，唯此才具有原创的可能性。

中国民间艺术中所包涵的哲学观、艺术观、以及造型和色彩观念，都与西方传统的艺术观念完全不同，也与中国的文人士大夫和职业艺术家的艺术不尽相同。民间艺术是应用中华民族几千年以来不断传承和发展的原生态哲学密码直接表现我们整个民族的共同精神和容貌。而文人士大夫们的艺术则是用这种哲学来表述个人情怀的。西安美术学院如何继承和发展作为中国本原文化形态的民族民间造型体系和色彩体系，如何使西安美术学院的教学体系里，注入具有中国特色、即民族民间文化艺术特色的血液是十分重要的。历史发展到今天，作为民族民间文化代代传承的载体的民俗生活形态和自然形态正在渐渐消失，那么将这种原属于全民性的责任仍回归于全民的一个切实有效的方式就是将这种理想和愿望向学校教育中发展。见于此，杨晓阳院长在其建设具有中国特色美术学院的“大美术、大美院、大写意”思想框架下，提出创办全国唯一的、也是第一个中国本原文化研究所。这一重大举措无疑是及具战略思想的远见卓识。

事物都是在发展和变化着的，这个研究所在美术学院里的意义，不仅仅是研究与考察，研究所通过教学实践还可以从另一个方面实现它作为当代艺术的重要意义。本原文化从来都是一股活水源泉，滋养着人们的精神和物质生活，因此对于这种文化的研究与实践在今天具有更多的现实意义。无论是传统艺术还是当代艺术，民间的方式就是与其最基本的现实生活和文化渊源密切相关着的，对于这种现象和此类现象的自觉表达，正是当代艺术的重要追求；生活中许许多多具有本原文化意义的形态、物品，都是文化与艺术的重要信息。我们在今天的创作中，采取什么样的立场、观点和方法处理这些信息，将会得出完全不同的结果来。它将会形成培养创造力的智慧和思考生活与社会的思想资源。所有来自民间衣、食、住、行和那块土地以及一条河流的信息，事实上都有可能形成新的创造思维和视觉样式。因此就其历史发展使命和文化的地域性和多样性意义而言，研究所的成立对于西安美院，对于整个中国的美术，乃至2l世纪全人类的文化艺术都将具有重要的意义。

Written before the establishment of the Institute of Chinese indigenous Culture

Written by He Dan and Guo Qingfeng

1. The indigenous culture: a familiar and unfamiliar concept

The rapid development of globalization, in the sense of culture and art, is not the "consensus" of integration, but more of the "difference" of the regions and the "diversity" of culture. Under such big development situation, the concept of the indigenous culture has also been highlighted due to the continuous advancement of literary theory on practice and research in recent years and has gradually become a major proposition in the cultural and artistic circles.

So what is the indigenous culture on earth? What kind of form does it exist? Professor Jin has written a series of Monographs through decades of research and investigations, such as "Catch the Dolls", "Tree of Life", " May your family grow and prosper like spreading melonvines!" and so on. The series of monographs has laid the basis for this cultural study and has become the authority in this field in China. For a variety of reasons, few scholars have putted their attention on the folks who have no written records and words in history in their study of many cultural phenomena. Archaeologists study Chinese history and culture through accidentally unearthed cultural relics and excavations of specific sites. It is often inevitable quoted out of context when historians study Chinese history and culture mainly through the written records of historical documents. Then, the long history cannot be clearly recorded before the emerged of written records. And the history and culture of many people whose words cannot be popularized have never been really concerned. What we have seen in many museums is a history of emperors who have changed from generation to generation. The Chinese history and culture are more longer and wilder. In fact, there are a lot of blank cases in the culture history of China. "China, known as the greatest four ancient civilizations of mankind, has never had a cultural break in its long history and cultural traditions. It has unique historical and geographical conditions, such as many ethnic groups and vast territory. Therefore, it is in its folk art and customs. In the culture, there are still extremely rich and ancient historical and cultural relics. Especially those areas that are the birthplaces of the clan cultures of the tribes of the original primitive tribes of the Chinese civilization, there have been glorious clan culture peaks in history. Later, due to natural disasters and man-made disasters, these places became places where traffic was blocked and closed and undeveloped. In the folk culture and social life of these regions, including folk art works, we can still see the indigenous Chinese culture with extremely rich and complete indigenous ecology. And the various forms of expression of the indigenous philosophy. The cultural relics unearthed underground will not speak, but the living cultural relics on the ground make an impressive explanation for it. As the source of the philosophy of the the Spring and Autumn Warring States, the Chinese indigenous philosophy system still played a important roll as the philosophical basis and main connotation of traditional culture, it is pervasive completely accumulated in various folk art works." (“Introduction to Chinese Folk Art”, Jin Zhilin, Wuzhou Communication Publishing House). The history of the folk is a history that people have passed down from generation to generation and it is a living life. History is a true, vivid, creative and life-filled history of people who live in harmony with nature and the spirits in their hearts. In the expression of ancient culture and folk art, it is the fundamental pursuit of people that life can last for a long time and it is also the instinct of all creatures in the universe. In this regard, Mr. Jin also has a clear summary in his monograph, "Life and reproduction are the instinct of all creatures in the universe. The consciousness of life and reproduction is also the basic cultural consciousness of human beings. From this, sublimation into chaos divides yin and yang, and yin and yang are combined. The Chinese philosophical view of the universe, in particularly, the philosophical view of the yin and yang and the unification of life , was born in the indigenous society of China six or seven thousand years ago and constitutes the core of China's indigenous cultural cosmology.

2. West area-the potential of indigenous cultural resources and its advantages.

Xi'an Academy of Fine Arts is located in the hinterland of China and is the only Fine Arts Academy in the vast five northwestern provinces of China. In order to realize the cultural superiority of the Xi'an Academy of Fine Arts and Prof. Jin Zhilin’s research methods of the ancient history literature combined with mutual verification can be promoted. Namely the the folk culture based on the practice of social life, culture archaeology and rich historical documents. Xi'an Academy of Fine Arts decided to establish the Institute of China Indigenous Culture under the auspices of Prof. Jin Zhilin. The ICIC specifically has the following two distinguishing features: First, the Institute is also a teaching practice unit, but not a faculty. It is a required course for each department and institute, which means that it is a basic course that must be completed during the undergraduate study of the Academy of Fine Arts. Second, its starting point is from a cultural standpoint rather than an art perspective. Facts have proved that from the perspective of aesthetics, we can only do some shallow appreciation and familiarization of folk art. From the cultural standpoint, we seek more essential connections and more ways of growth from the indigenous culture. It will have an deep impact on the overall quality of the students with a wider joint.

In the history of literature course of the Academy of Fine Arts and others colleges, the philosophy of the Spring and Autumn Warring States is almost all derived from the social life that has been deeply accumulated in the ethnic groups, and accumulated in various folk art works. The connotation and artistic form of indigenous culture are formed in the course of long-term historical development, and its value has gone far beyond its own artistic value. "It has rich and profound philosophy, aesthetics, art, archaeology, history, and ethnicity. Multi-disciplinary cultural values such as studies, sociology, and human culture. From the perspective of overall national culture, Chinese folk art also reflects the philosophical, cultural, emotional, and psychological qualities of the entire nation (“Chinese Folk Art”, written by Jin Zhilin).” Therefore, the inheritance and development of this cultural undoubtedly create an important educational model for art schools, lay a new research metodology, and make a new modeling system, which has unprecedented significance.

A nation must have its own cultural concepts different from another nation, as well as the emotional temperament and spiritual qualities that exist in the collective consciousness. This is also the reason and symbol of the existence of a nation. Although we are concerned about the various theories of the poetry, such as "Poetry and Speech", "Following principle of Natural", "Modeling Being", “The concept of harmony between man and nature", and "Yin and Yang and Five Elements", we have not really paid attention to these doctrines. The fact that originated in the indigenous culture. We often admire the joy, auspiciousness, health, atmosphere, and dexterity of folk art, but we don't seem to have noticed it that this is the common emotional temperament and spiritual quality of our entire nation that has been cultivated for thousands of years.

3. The protection and inheritance of the indigenous culture: the new mission of modern universities. 

The so-called integration under the control of the international economy is actually a total Westernization. In this regard, in the past unified education mode, we have many embarrassing and painful experiences. And we can't avoid the eternal question: Who are we? Where do we come from? Where are we going? “Human inheritance relies on heritage genes. The inheritance of human cultures depends on the inheritance of national cultural genes, that is, the inheritance of national indigenous cultures." (Jin Zhilin，"Chinese Folk Art") Therefore, the indigenous culture of the Chinese nation Thinking and exploration is the first question that should be considered in the inheritance of the entire national culture and art. This is an innate problem in our study and creation. It is also a valuable legacy of inheriting ancestors in art education. And the reason and symbol of the existence of a Fine Art Academy. In the past few thousand years, our nation has not vanished and our history has not interrupted; nowadays, with the rapid progress of integration, the inheritance and development of the regionalization of a nation has reached an important juncture of life and death. In the long term, real creativity and living value are derived from the blood of the Chinese nation itself. Whenever and wherever we must do our own art that offer the necessity to inheritance. Only through this way we could have the possibility of original contribution.

The philosophical, artistic, modeling and idea of color contained in Chinese folk art are completely different from the traditional Western artistic concepts and are also different from the art of Chinese intellectuals and trained artists. Folk art is the original ecological philosophical code that has been continuously inherited and developed by the Chinese nation for thousands of years. It directly expresses the common spirit and appearance of our entire nation. The art of the intellectual used this philosophy to express personal feelings. How does Xi'an Academy of Fine Arts inherit and develop the national folk modeling system and color system as the indigenous cultural form of China? How to influx the characteristics of national folk culture and art into the teaching system of Xi'an Academy of Fine Arts is very important. Since the development of history to this day, as the carrier of the national folk culture passed down from generation to generation, the folk life form and natural form are gradually disappearing. Then it is an effective way to return this responsibility that belonged to the whole people to the people is to develop new teaching model in art education at art school. Seeing this, the director Yang Xiaoyang proposed to establish the only and the first Chinese indigenous culture research institute under the framework of the idea of building “Great Art, Great Academy, and Great Liberal” with the Chinese Academy of Fine Arts. This major move is undoubtedly a far-sighted and strategic vision.

Things are developing and changing. The significance of this research institute in the Academy of Fine Arts is not only research and art practice. The research institute can realize its important significance as contemporary art through another aspect. The indigenous culture has always been a source of living water, nourishing people's spiritual and material life. So the research and practice of this culture has more practical significance today. Whether it is traditional art or contemporary art, the way of folk art is closely related to its most basic real life and indigenous cultural. The self-conscious expression of this phenomenon is an important pursuit of contemporary art. Many in life Forms and objects with more indigenous cultural significance are important information about culture and art. What perception, point of view, and method we take in todays for our creations will produce completely different results. It will form the wisdom to cultivate creativity and the intellectual resources to think about life and society. All the information of clothing, food, shelter, and the land and a river of folks can actually create new thinking and visual style. Therefore, in terms of its historical development mission and the regional and cultural significance of the culture, the establishment of the Institute will be of great significance to the Xi'an Academy of Fine Arts, to the overall Chinese art, and even to the culture and art of the human in the 21st century.