中国传统吉祥画在韩国的传播、演变与发展

发布时间：2018-05-28 05:17

本文选题：中国 + 韩国　；参考：《华东师范大学》2013年博士论文

【摘要】：中国传统吉祥画是单独或综合运用各种象征手法的绘画类型,也是中国吉祥文化的重要组成部分。吉祥画展现着人们对现实生活中的祈愿和对理想世界的追求,在生活中陈陈相因,代代相传。中国传统吉祥画不仅丰富了本国文化,而且对韩国文化也产生了深厚的影响。众所周知,有史以来,韩国与中国有着密不可分的关系,对中国文化采取积极开放的态度。在中国画大量传入韩半岛的同时,中国吉祥画也逐渐在韩半岛生根开花。在慕华思想的影响下,表现人类共同心理追求——吉祥的吉祥画吸引了韩半岛历代王室以及上流阶层。随着生活水平的提高,憧憬精英阶层生活的普通百姓也同样能够在生活中接触或享受到中国吉祥画,由此两国拥有了共同的图像语言。中国吉祥画以由上流社会走向民间逐渐融入于韩半岛的民俗生活中,在韩国风俗习惯的土壤上,根据时代和观念的不同,不断变化而实现了中国吉祥画的本土化,并在此过程中试图创新,树立起了韩国独特的吉祥画传统。这样,两国吉祥画之间产生了“同源异流,同根异枝”的关系。虽然两国传统吉祥画具有丰富的审美价值和民俗信息,然而在现代社会的迅速发展中并没有受到人们的重视,甚至面临着失传的危机。其中的重要原因在于没有传承对吉祥画的“读画”诀窍。吉祥画是在漫长的历史长河中积淀的吉祥观念的象征表现,因此“读吉祥画”需要对吉祥画的外在形式、内在含义及其特定的文化时空进行全方位的解读。而停留在表层的“看画”是不能找出吉祥画形式的内在价值的。本文以散落于中国、韩国、日本、法国等各地的两国吉祥画为基础资料,发掘两国共享的传统吉祥画并进行立体性的分析和比较。其结果有利于提高中韩两国对传统吉祥画以及传统文化的正视和重视,也有益于为两国传统吉祥画的恢复和传承问题提供新的方向。
[Abstract]:Chinese traditional auspicious painting is an important part of Chinese auspicious culture. Auspicious paintings show people's wishes in real life and the pursuit of ideal world. In life Chen Xiangyin is handed down from generation to generation. Chinese traditional auspicious paintings not only enrich the national culture, but also have a profound influence on Korean culture. As we all know, South Korea has been closely related with China and adopted a positive and open attitude to Chinese culture. At the same time, Chinese auspicious paintings gradually took root and blossomed in the Korean Peninsula while a large number of Chinese paintings were introduced into the Korean Peninsula. Under the influence of Muhua's thought, the auspicious paintings which express the common pursuit of human psychology attracted the royal family and the upper class of the Korean Peninsula. With the improvement of living standards, ordinary people who are looking forward to the life of the elite are also able to contact or enjoy the Chinese auspicious paintings in their lives, so the two countries have the same image language. The Chinese auspicious paintings gradually melt into the folk life of the Korean Peninsula from the upper class society to the folk life. In the soil of Korean customs and habits, and according to the different times and ideas, the Chinese auspicious paintings have realized the localization of the Chinese auspicious paintings. And in the process of trying to innovate, set up a unique Korean auspicious painting tradition. In this way, the auspicious painting between the two countries produced the relationship of "the same origin, the same root and different branches". Although the traditional auspicious paintings of the two countries have rich aesthetic value and folklore information, they have not been paid attention to in the rapid development of modern society, and even face the crisis of loss. One of the important reasons is that there is no inheritance of auspicious painting "read painting" trick. Auspicious painting is the symbol of auspicious concept accumulated in the long history. Therefore, "reading auspicious painting" requires an all-round interpretation of the external form, internal meaning and specific cultural time and space of auspicious painting. But "looking at painting" in the surface cannot find out the intrinsic value of auspicious painting form. Based on the auspicious paintings scattered in China, Korea, Japan and France, this paper explores the traditional auspicious paintings shared by the two countries and makes a stereoscopic analysis and comparison. The result is conducive to the improvement of traditional auspicious paintings and traditional culture in China and South Korea, and also to provide a new direction for the restoration and inheritance of traditional auspicious paintings between China and South Korea.
【学位授予单位】：华东师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209

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