民间艺术是人类文明古拙和精美的活化石。岁月衍长,时潮隐退,饱含着人类精神造物起点和思维逻辑印痕的民间艺术更显珍贵。其中,民间美术曾作为一种独特的艺术形式,根植于广大民众中,从不同侧面展示出民众的社会生活和乡俗文化。然而,随着我国从传统农业社会向现代工业社会的转型,人们的生产、生活方式发生了极大改变,民间美术赖以生存的乡土语境遭遇了深刻冲击。随着近些年乡村旅游和创收致富的热潮,一部分民间美术被“成功”转化为热销商品。然而,这些看似繁荣的民间美术实则已经死了,它失去了支撑其存活的创造者的真情实感和需求情境。那么,在民间美术失去其生存的土壤时,我们是为它培土护根还是将它移 Folk art is a fossilized and exquisite living fossil of human civilization. Years grow, the tide of recession, full of human spiritual creation starting point and logical imprint of folk art is even more precious. Among them, folk art, as a unique art form, is rooted in the broad masses of the public and shows people’s social life and folk custom culture from different aspects. However, with the transformation of our country from the traditional agricultural society to the modern industrial society, people’s production and living style have undergone tremendous changes. The rural context in which folk art lives has suffered a profound impact. With the upsurge of rural tourism and income generation in recent years, a part of folk art is transformed into selling commodities by “success”. However, these seemingly prosperous folk arts are, in fact, already dead, losing the truthfulness and needs of the creators who support their survival. So, when folk art loses its living soil, do we nurture it or remove it?