锦竹木版年画与梁平木版年画艺术特征与保护比较研究

发布时间：2018-03-14 09:50

本文选题：绵竹木版年画　切入点：梁平木版年画　出处：《重庆师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：2001年冯骥才开始以年画为龙头项目的全国民间文化遗产抢救工程逐渐蔓延到绵竹、梁平两地。2006年国务院颁布的第一批国家级非物质文化遗产名录的有两地年画被列入其中，开始引起了广泛的社会关注。王树村在《中国门神画》一书中提到梁平木版年画是从绵竹学来的，但广大学者依旧忽略此点，，坚持认为两地木版年画之间没有相同之处。本文旨在以此为根据，意在寻找历经岁月变迁的两地木版年画依然存在怎样的联系及相似之处。首先，笔者针对绵竹与梁平两地木版年画所产生的时间作出合理推测，并就两地木版年画的兴衰时间点作出比较分析；通过对两地的地势地形、气候、水文、植被等地理环境作比较，寻找两地产生年画的必然环境因素；之后对两地造纸业、印刷业以及其它商品经济的发展情况进行比较分析，寻找两地产生年画的必然经济条件；再分析两地特有的“巴蜀文化”对年画的形成及发展情况的比较；综上所述，都是对年画产地形成的背景做比较分析。其次，主要针对年画主体，就是两地木版年画本身进行比较分析，主要包括两个大的方面：其一就是两地木版年画制作上的比较，又分为制作的工具以及制作的工艺；其二就是两地木版年画的艺术特征进行比较，主要包括题材、构图、色彩、造型等方面。最后，是对比两地目前针对木版年画的保护与发展所开展工作的比较，主要是通过三个方面来进行：其一是博物馆建设与档案的建立情况比较；其二是传承与教育保护情况的比较；最后就是政府及全民保护工作的比较。笔者意在通过保护的比较为两地木版年画的保护工作提出全面的思路。
[Abstract]:In 2001, Feng Jicai began the national folk cultural heritage rescue project with New year's Pictures as the leading project, which gradually spread to Mianzhu and Liang Ping. In 2006, the State Council issued the first batch of state-level immaterial cultural heritage lists in which New year paintings of both places were included. It began to attract widespread social attention. Wang Shucun mentioned in his book "the painting of the Chinese Gate God" that Liangping's wood-plate New year painting came from Mianzhu, but the majority of scholars still ignored this point. The purpose of this paper is to find out what kind of connection and similarity still exist between the woodcut New year Pictures of the two places which have been through the vicissitudes of time. First of all, the author makes a reasonable prediction on the time of the woodblock paintings between Mianzhu and Liangping, and makes a comparative analysis of the rise and fall time points of the woodcut New year paintings of the two places; through the topography, climate, hydrology of the two places, Comparing the geographical environment such as vegetation to find the inevitable environmental factors that produce the New year Pictures in the two places, the paper industry, printing industry and other commodity economy of the two places are compared and analyzed to find the inevitable economic conditions for the production of the New year Pictures in the two places. It also analyzes the formation and development of New year's Pictures in Bashu Culture. In summary, it makes a comparative analysis on the background of the origin of New year's Pictures. Secondly, mainly aimed at the main body of the New year's Pictures, that is, the two woodblock New year paintings themselves, mainly including two major aspects: one is the comparison on the production of New year's Pictures of the two places, which is divided into the production tools and the production process; The second is to compare the artistic features of woodcut New year paintings, including theme, composition, color, modeling and so on. Finally, the comparison of the protection and development of woodcut New year paintings between the two places is carried out in three aspects: first, the comparison of museum construction and archives establishment; The second is the comparison between inheritance and education protection, and finally the comparison between the government and the whole people. The author intends to put forward a comprehensive way of thinking for the protection of woodcut New year paintings in the two places through the comparison of protection.
【学位授予单位】：重庆师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J217

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