社会转型中杨家埠木版年画的艺术人类学研究

发布时间：2018-02-28 16:50

本文关键词： 杨家埠木版年画社会转型民间手工艺理性小农艺术人类学　出处：《中国艺术研究院》2017年博士论文　论文类型：学位论文

【摘要】：民间年画是中国特定历史时期产生的一种绘画体裁,它植根于老百姓的民俗及日常生活之中,建构着人们的感想、感知,并成为老百姓喜闻乐见的民间艺术。年画孕育于汉唐,发端于两宋,兴盛于明清,至今又历经了民国时期的衰落、建国初期的改革、文革中的迫停、改革开放后的复兴、20世纪末的式微、最终成为本世纪初的“非物质文化遗产”。可以看出,社会转型与传统手工艺的变迁存在千丝万缕的关系。本论文基于社会转型对年画生命样态产生的影响,将其生存的社会语境划分为四类,分别是自产生至民国以前的乡土社会、新中国成立初期计划经济体系下的工业社会、改革开放至20世纪末市场经济体系下的后工业社会、21世纪初全球经济一体化中的“非遗”语境。人类学是以田野调查与整体观为研究范式的学科,只有将传统手工艺放置在鲜明的语境中,才能看清社会转型与手工艺变迁之间的关系。当空间维度中的“田野”与历史维度中的“田野”进行叠加的时候,人类学家如何利用“器物”、“文献”、“口述史料”等介入“历史事件”的“深描”并进行民族志书写,对艺术人类学的研究范式来说将是一种新的挑战。因此,本论文旨在用艺术人类学的研究方法与史学研究视角,以社会转型中的杨家埠木版年画的变迁为研究内容,分别从国家、市场、文化、技术四个维度,具体围绕年画艺术本体的演变、生产与流通方式、行为者、国家意识形态与市场主导等方面,进行“还原性分析”,探讨社会转型与传统手工艺变迁的关系以及在后非遗语境中民间手工艺的发展路径问题。本论文将作为文化表征体系的年画,放置在与社会、生产、消费、流通共同组成的“菱形”框架中进行阐释,并得出以下诉求:迈向现代性本土化的民间艺术;从遗产到资源理论的社会实践;国家在场与理性小农的互惠与博弈;知识分子对民间艺术的介入与影响。
[Abstract]:Folk New year painting is a kind of painting style produced in a specific period of Chinese history. It is rooted in the folk customs and daily life of the common people, and it constructs people's feelings, perception, and becomes popular folk art. It originated in the Song Dynasty, flourished in the Ming and Qing dynasties, and has experienced the decline of the Republic of China period, the reform in the early days of the people's Republic of China, the forced cessation of the Cultural Revolution, the revival after the reform and opening up and the decline of the late 20th century. Finally, it becomes the "intangible cultural heritage" at the beginning of this century. It can be seen that there are inextricably relations between social transformation and the change of traditional handicraft. The social context of its existence is divided into four categories, namely, the local society from its birth to the period before the Republic of China, and the industrial society under the planned economy system in the early stage of the founding of New China. The post-industrial society under the market economy system from the reform and opening up to the end of 20th century the "non-legacy" context in the global economic integration at the beginning of the 21st century. Anthropology is a discipline based on fieldwork and holistic view. Only by placing the traditional handicraft in a distinct context can we see clearly the relationship between the social transformation and the handicraft change. When the "field" in the spatial dimension and the "field" in the historical dimension are superimposed, It will be a new challenge for anthropologists to make use of "objects", "documents", "oral historical materials" and so on to get involved in the "deep drawing" of "historical events" and to write ethnography, which will be a new challenge to the research paradigm of art anthropology. The purpose of this paper is to use the research method of art anthropology and the perspective of historical research, to study the changes of Yangjiabu woodwork in the course of social transformation, from the four dimensions of country, market, culture and technology, respectively. Focusing on the evolution of the Noumenon of New year's Pictures, the way of production and circulation, the actors, the ideology of the state and the market leading, etc. This paper discusses the relationship between social transformation and traditional handicraft changes and the development path of folk handicraft in post-non-posthumous context. In the framework of "rhombus" formed by circulation, the following demands are obtained: folk art moving towards modernity localization, social practice from heritage to resource theory, reciprocity and game between state presence and rational smallholder; The intellectual's intervention and influence on folk art.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J218.3

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