清末民初“风俗版画”研究
发布时间：2018-11-07 15:00
【摘要】：“亚文化”也被称为次属文化(Subculture),指的是相对于主流文化的一些非主流文化现象,又称小文化或副文化。本文所研究的“风俗版画”便是这种不被主流文化所重视,又试图摆脱传统民间文化的一种“亚文化”。它的形成经历了与西方文化对抗、接受并最终融合的过程。本文将清末民初时期产生新风格的民间木版年画定义为“风俗版画”,它的形式是建立在木版年画基础上,把西方的图像元素与本土风俗相结合,形成既有中国传统构图样式又融入了西方透视、空间、造型等元素的新风格。在内容上区别于“传统版画”,表现出与现实社会息息相关,反映民众生活状态的“版画”。在传播方式上也与“传统版画”不同,是受到社会整体变迁的影响,产生于民间“自下而上”的一种“新民俗”表达方式。受清中期“西风东渐”的影响,中国美术开始接受西方“科学”的视角,民间也产生了以木刻手段和焦点透视相结合的木版年画,形成了“风俗版画”的早期萌芽。鸦片战争后,在“洋务运动”的推波助澜下,社会风尚迅速变化,“洋货”、“洋装”为人们青睐,书籍插图中也频频出现“火轮车”、“火轮船”等西洋新事物。这些“西洋景”作为新图像迅速在社会传播,并被民间木刻家利用与传统图像结合,创作出反映社会新风尚的木版年画,“传统版画”至此全面转型。戊戌变法后,在“先锋”意识的催动下,新潮的有志之士创办了画报、报刊等新媒体,此类通俗性宣传媒介在社会上广泛传播,开启了“民智”,普及了民众新知。伴随着新思潮的影响,“移风易俗”运动开展,民众的审美趣味随之转变。“风俗版画”的产生恰恰契合了这种变化的时代,满足了民众追求“时尚”的心理。在出版商和画师的共同参与下“风俗版画”得以快速地发展。民国成立后,为了达到宣教的政治功用,国民政府提倡“改良年画”运动,为“风俗版画”提供了新的素材和创作方向。随着“机械印刷时代”开启,木刻“风俗版画”受其影响日渐式微。本文将清末民初时期“风俗版画”划分为战事题材、讽刺题材、市井生活题材、维新启蒙题材。以图像学、图像志的研究方法从其发展流变、风格样式、视觉建构、社会功能等角度对新风格形成的原因进行分析,对其体现的艺术价值、文化价值、社会价值等方面进行探究,梳理并还原这段被遗忘的“版画”历史。
[Abstract]:"Sub-culture" is also referred to as the sub-culture (Subculture), refers to some non-mainstream cultural phenomena relative to the mainstream culture, also known as small culture or sub-culture. The "custom print" studied in this paper is a kind of subculture which is not attached importance to by the mainstream culture and tries to get rid of the traditional folk culture. Its formation has experienced the process of antagonizing, accepting and finally merging with the western culture. In this paper, the folk woodblock paintings which produced new style in the late Qing Dynasty and the early Republic of China are defined as "custom prints", which is based on the woodblock paintings and combines the western image elements with the local customs. The formation of both Chinese traditional composition style and the integration of Western perspective, space, modeling and other elements of the new style. Different from "traditional print" in content, it is closely related to real society and reflects people's living conditions. Different from "traditional print", it is influenced by the overall social changes and is a "new folklore" expression from the bottom up to the top of the folk. Under the influence of "western-style spreading eastward" in the middle of Qing Dynasty, Chinese art began to accept the view of western "science", and folk also produced wood-plate New year paintings with woodcut means and focus perspective, forming the early germination of "custom prints". After the Opium War, under the "Westernization Movement", social fashion changed rapidly, "foreign goods", "dress" for people, books illustrations also frequently appeared "fire wheel", "fire ship" and other Western new things. These "Westernview" as new images spread rapidly in society, and were used by folk woodcarvers to combine with traditional images to create wood-style New year pictures reflecting the new social fashion, "traditional prints" so that the overall transformation. After the Reform Movement of 1898, under the impetus of the consciousness of "pioneer", the trendy and ambitious people established new media, such as pictorial, newspapers and periodicals, which spread widely in the society, opened the "people's wisdom" and popularized the new knowledge of the people. With the influence of the new trend of thought, the people's aesthetic taste changes with the movement of changing the customs. The appearance of "custom print" coincides with the changing times and satisfies the people's psychology of pursuing "fashion". With the participation of publishers and painters, custom prints developed rapidly. After the founding of the Republic of China, in order to achieve the political function of propaganda, the National Government advocated the movement of "improving New year's Pictures", which provided new materials and creative direction for "custom prints". With the opening of the mechanical printing era, woodcut "custom prints" gradually declined. In this paper, the late Qing Dynasty and the early Republic of China "custom prints" are divided into war, satire, market life, reform and enlightenment themes. This paper analyzes the reasons for the formation of the new style from the perspective of its development, style, visual construction and social function, and analyzes the artistic value and cultural value of the new style. Social value and other aspects of exploration, combing and restoring this forgotten "print" history.
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J217
，
本文编号：2316725
[Abstract]:"Sub-culture" is also referred to as the sub-culture (Subculture), refers to some non-mainstream cultural phenomena relative to the mainstream culture, also known as small culture or sub-culture. The "custom print" studied in this paper is a kind of subculture which is not attached importance to by the mainstream culture and tries to get rid of the traditional folk culture. Its formation has experienced the process of antagonizing, accepting and finally merging with the western culture. In this paper, the folk woodblock paintings which produced new style in the late Qing Dynasty and the early Republic of China are defined as "custom prints", which is based on the woodblock paintings and combines the western image elements with the local customs. The formation of both Chinese traditional composition style and the integration of Western perspective, space, modeling and other elements of the new style. Different from "traditional print" in content, it is closely related to real society and reflects people's living conditions. Different from "traditional print", it is influenced by the overall social changes and is a "new folklore" expression from the bottom up to the top of the folk. Under the influence of "western-style spreading eastward" in the middle of Qing Dynasty, Chinese art began to accept the view of western "science", and folk also produced wood-plate New year paintings with woodcut means and focus perspective, forming the early germination of "custom prints". After the Opium War, under the "Westernization Movement", social fashion changed rapidly, "foreign goods", "dress" for people, books illustrations also frequently appeared "fire wheel", "fire ship" and other Western new things. These "Westernview" as new images spread rapidly in society, and were used by folk woodcarvers to combine with traditional images to create wood-style New year pictures reflecting the new social fashion, "traditional prints" so that the overall transformation. After the Reform Movement of 1898, under the impetus of the consciousness of "pioneer", the trendy and ambitious people established new media, such as pictorial, newspapers and periodicals, which spread widely in the society, opened the "people's wisdom" and popularized the new knowledge of the people. With the influence of the new trend of thought, the people's aesthetic taste changes with the movement of changing the customs. The appearance of "custom print" coincides with the changing times and satisfies the people's psychology of pursuing "fashion". With the participation of publishers and painters, custom prints developed rapidly. After the founding of the Republic of China, in order to achieve the political function of propaganda, the National Government advocated the movement of "improving New year's Pictures", which provided new materials and creative direction for "custom prints". With the opening of the mechanical printing era, woodcut "custom prints" gradually declined. In this paper, the late Qing Dynasty and the early Republic of China "custom prints" are divided into war, satire, market life, reform and enlightenment themes. This paper analyzes the reasons for the formation of the new style from the perspective of its development, style, visual construction and social function, and analyzes the artistic value and cultural value of the new style. Social value and other aspects of exploration, combing and restoring this forgotten "print" history.
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J217
，
本文编号：2316725
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