浮世绘今日现状对年画发展的启示
发布时间：2018-11-17 19:28
【摘要】：新时期以来美术教育工作者逐渐认识到年画这一传统画种的民俗价值和美学意义，不少学者对年画史重新梳理，并进行大量乡野考察。学者的建议以及保护国家原生文化的驱动力使得年画已经进入官方保护的视野，但却并未受到广泛民众和艺术工作者的足够重视。在这诸多呼吁声中，大多学者只看到了史料研究、古版保护和博物馆工作的重要性，却少有针对如何真正解决现实困境问题的解答。 本文在大量分析查找资料的基础上，综合运用横向比较和纵向研究的文艺学研究方法，通过梳理年画由盛转衰的过程，陈述年画今日面临小众赏玩的困境，同时用比较研究的方法观照同是民族美学代表的浮世绘艺术在今日依然受到追捧的现状，通过分析这种现状产生的原因，对年画在今日如何发展做出了大胆的建议。 本文共分为四章，第一章梳理年画主要产地的历史流变，列举四大年画产地的地域特征和审美范式，介绍年画主要的功能和作用以及年画的民俗价值；第二章梳理不同年代浮世绘代表画家及其主要作品，并依次分析这些浮世绘作品可观照到的日本民族心理；第三章分析浮世绘和年画共同的大众文化属性，，通过阐述大众文化理论，得出年画面临要在大众文化普及的文化现状中生存和发展的课题；第四章列举当代中日两国艺术工作者分别对年画和浮世绘的传统美学元素做了怎样的保护和革新，发现我国在年画发展观念革新上的不足，从国家教育和艺术工作者两方面对年画的现世发展做出合理建议；结语部分总结了年画在今日面临何种大众文化，提出此背景下我们除对年画做静态的保护外，还需对它做动态的活性的保护，由此相信年画这一传统艺术重新进入世界民众的视野指日可待。
[Abstract]:Since the new era, art educators have gradually realized the folk value and aesthetic significance of New year painting, and many scholars have rearranged the history of New year painting and made a lot of rural investigation. Scholars' advice and the driving force behind the preservation of the country's native culture have made New year's paintings officially protected, but they have not received enough attention from the general public and art workers. Among these appeals, most scholars have only seen the importance of historical materials research, ancient edition protection and museum work, but there are few answers to the problem of how to solve the real dilemma. On the basis of a large amount of analysis and searching data, this paper synthetically applies the literature and art research methods of horizontal comparison and longitudinal research, through combing the process of New year's Pictures from prosperity to decline, it states that New year's Pictures are faced with the dilemma of minority enjoyment and play today. At the same time, the method of comparative study is used to study the present situation of the art of the Archaean painting, which is also the representative of national aesthetics. Through the analysis of the reasons for the present situation, the author makes some bold suggestions on how to develop the New year painting today. This paper is divided into four chapters. The first chapter combs the historical changes of the main producing areas of New year Pictures, enumerates the regional characteristics and aesthetic patterns of the four major production areas of New year Pictures, introduces the main functions and functions of New year Pictures and the folklore value of New year Pictures. In the second chapter, the author combs the representative painters of the different ages and their main works, and analyzes the Japanese national psychology that these paleocene paintings have taken into account in turn. The third chapter analyzes the common characteristics of the popular culture between the New year painting and the New year painting, through the elaboration of the popular culture theory, it is concluded that the New year painting is faced with the subject of survival and development in the cultural situation of popular culture. The fourth chapter enumerates the protection and innovation of the traditional aesthetic elements of the New year painting and the New year painting, and finds out the deficiency in the innovation of the concept of the development of the New year Pictures in our country. From two aspects of national education and art workers to make reasonable suggestions for the development of the new year painting; The conclusion part summarizes what kind of popular culture New year Pictures face today, and puts forward that we should protect the New year Pictures in the dynamic and active way in addition to the static protection of the New year Pictures. Therefore, it is believed that the traditional art of New year's Pictures will re-enter the world's people's horizon.
【学位授予单位】：沈阳师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.3
本文编号：2338826
[Abstract]:Since the new era, art educators have gradually realized the folk value and aesthetic significance of New year painting, and many scholars have rearranged the history of New year painting and made a lot of rural investigation. Scholars' advice and the driving force behind the preservation of the country's native culture have made New year's paintings officially protected, but they have not received enough attention from the general public and art workers. Among these appeals, most scholars have only seen the importance of historical materials research, ancient edition protection and museum work, but there are few answers to the problem of how to solve the real dilemma. On the basis of a large amount of analysis and searching data, this paper synthetically applies the literature and art research methods of horizontal comparison and longitudinal research, through combing the process of New year's Pictures from prosperity to decline, it states that New year's Pictures are faced with the dilemma of minority enjoyment and play today. At the same time, the method of comparative study is used to study the present situation of the art of the Archaean painting, which is also the representative of national aesthetics. Through the analysis of the reasons for the present situation, the author makes some bold suggestions on how to develop the New year painting today. This paper is divided into four chapters. The first chapter combs the historical changes of the main producing areas of New year Pictures, enumerates the regional characteristics and aesthetic patterns of the four major production areas of New year Pictures, introduces the main functions and functions of New year Pictures and the folklore value of New year Pictures. In the second chapter, the author combs the representative painters of the different ages and their main works, and analyzes the Japanese national psychology that these paleocene paintings have taken into account in turn. The third chapter analyzes the common characteristics of the popular culture between the New year painting and the New year painting, through the elaboration of the popular culture theory, it is concluded that the New year painting is faced with the subject of survival and development in the cultural situation of popular culture. The fourth chapter enumerates the protection and innovation of the traditional aesthetic elements of the New year painting and the New year painting, and finds out the deficiency in the innovation of the concept of the development of the New year Pictures in our country. From two aspects of national education and art workers to make reasonable suggestions for the development of the new year painting; The conclusion part summarizes what kind of popular culture New year Pictures face today, and puts forward that we should protect the New year Pictures in the dynamic and active way in addition to the static protection of the New year Pictures. Therefore, it is believed that the traditional art of New year's Pictures will re-enter the world's people's horizon.
【学位授予单位】：沈阳师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.3
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