中国年画民俗观念的生成与演进研究

发布时间：2018-08-22 10:44

【摘要】：本课题是就年画在农耕社会、工业社会和信息社会的历时演变而言的,为使年画的传统民俗观念与现代社会的政治、经济和文化良好融合的综合研究。本课题利用传播学的理论和方法,探究年画民俗观念在生成及演进过程中的传播表现。“旧年画”时期,年画深受阴阳五行思维方式的影响,讲究相生相克及和谐统一,年画意象和年画主题中充分彰显了最原始和虔诚的祖先、神灵崇拜,夸张且装饰色彩十足的“不合理”想象,压倒了一切“理性”因素。在这个时期,传播者多为民间艺人,他们按照愿望将客观世界拟态化;传播受众以淳朴农民为主,鲜明的地域特征满足了不同地区民众的审美偏向；传播方式为古老的“大众传播”,因年画具备图文并茂、售价低廉且传播范围广的特点。在“改良年画”时期,西方新思想对传统的思维方式带来不小的冲击,年画中的“神灵”初具“人格化”倾向,且西洋“环境色”的加入和构图的创新,为这个喜庆热烈的年俗产品增添了一些异域风情。在这个时期,传播者除了民间艺人,多了启蒙思想的改良者,他们为年画内涵加入主观意志；部分传播受众成为新思想的宣传对象,既理性又感性；此时的传播媒介由纸质年画,扩展到报纸印刷品,开始了名副其实的单向“大众传播”。在“新年画”时期,可以说年画是在为官方的“主旋律”而创作,年画意象的编码带有浓重的运动色彩,反映战争、民众真实生活场景的年画作品与纯神灵主题的年画作品博弈。缺乏灵气的年画画面和不再繁复生动的造型元素,失掉了不少民众的心、却赢得了整个战争运动的主战场。这个时期,传播者主要由革命艺术家构成,他们深谙艺术之道,并把精英意识很好地融入到民俗观念中；传播受众开始接受地域化弱化的事实；传播方式较之前的“改良年画”,更加多样。“新时期年画”以及今天的年画,深受商业气息的洗礼,年画意象的创作也百般迎合民众的精神及物质文化生活。盲目复刻传统画风的年画出现,受困于生活用品和电影视频的集体无意识年画出现。但不得不说,这一时期,年画拥有了更多机会,传播者的草根化,让年画的创作更加自由；传播受众解读信息的随意性和娱乐性,让可视化年画具备了更多优势；同时,传播载体的强时效性和传播受众的碎片化阅读习惯,给这一时期的年画提出了更多挑战。总的来说,对年画的解读,需要以自古承袭的知识文化背景和稳定的知识结构为依托。年画的模式化艺术特征和民间信仰观念,是传播者及受众约定成俗的,且以自我规范的方式进行承袭的民俗认知。本课题结合民俗学、美学、历史学和人类学等学科,有意识地通过传播学视角探究观念演进的问题,对年画的生成、演进进行意义层面的深度阐释。传播学学术语境和理论背景下的年画研究,试图揭示传统年画艺术在内容上的民俗观念脉络及特征、在传播者上的能动性变化和角色变化、传播受众上的地域性和阶层性演进以及传播方式、传播媒介特征的演进。本课题希望通过对年画在民俗观念上进行思维方式、民俗信仰、民间审美上的梳理,提升年画在现代的传播适应性。
[Abstract]:This topic is about the historical evolution of the New Year pictures in the agricultural society, industrial society and information society. In order to make the traditional folk ideas of the New Year pictures and the political, economic and cultural integration of modern society. In the period of the New Year's Painting, the New Year's Painting was deeply influenced by the thinking mode of Yin and Yang, stressing the harmony and unity of each other. The images and themes of the New Year's Painting fully highlighted the most primitive and pious ancestors, gods worship, exaggeration and decorative colors of the "irrational" imagination, overwhelming all "rational" factors. Most of them are folk artists who imitate the objective world according to their wishes; the audience is mainly simple peasants, and the distinctive regional characteristics satisfy the aesthetic bias of the people in different areas; the mode of communication is the ancient "mass communication", because the New Year pictures have the characteristics of luxuriant pictures and texts, low price and wide spread. During this period, the western new ideas had a great impact on the traditional way of thinking. The "gods" in the New Year pictures had a tendency of "personification". The addition of "environmental colors" and the innovation of the composition of the Western "environment colors" added some exotic flavor to this festive and popular product. In this period, the disseminators, besides folk artists, had more enlightenment thoughts. They added subjective will to the connotation of New Year pictures; some of the audience became the propaganda object of new ideas, both rational and emotional; at this time, the media expanded from paper New Year pictures to newspaper prints, and began a veritable one-way "mass communication." In the "New Year pictures" period, it can be said that the New Year pictures were the official "mass media." Creating the theme, the encoding of the New Year's pictures has a strong movement color, reflecting the war, people's real life scenes New Year's pictures and pure spirit theme New Year's pictures game. During this period, the communicators were mainly composed of revolutionary artists, who were familiar with the art and well integrated the elite consciousness into the folklore concept; the communicators began to accept the fact that regionalization was weakening; the mode of communication was more diverse than the previous "improved New Year pictures". New Year pictures in the new era and today's New Year pictures were deeply commercial. With the baptism of rest, the creation of New Year pictures also caters to the people's spiritual and material cultural life. The emergence of blindly duplicated traditional Chinese New Year pictures, the emergence of collective unconscious New Year pictures trapped in daily necessities and movies and videos. In general, the interpretation of the New Year pictures needs to be based on the knowledge and cultural background inherited from ancient times and be stable. Based on the established knowledge structure, the patterned artistic features and folk belief concepts of the New Year pictures are the folklore cognition that the communicators and audiences have agreed upon and inherited in a self-regulated way. The generation and evolution of New Year pictures are interpreted in depth at the meaning level. This topic hopes to improve the adaptability of the New Year pictures in modern communication by combing the folk ideas, folk beliefs and folk aesthetics.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J218.3

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