高密扑灰年画艺术研究
发布时间：2018-12-17 04:55
【摘要】：高密扑灰年画是中国年画大家庭中罕有的完全采用手绘技法并流传至今的民间美术种类,是我国民间艺术的奇葩。 虽然目前对于高密扑灰年画的研究资料已经不少,但从现有文献来看,绝大部分的研究资料限于对其历史、发展、艺人、演变及传承状况、非遗保护、市场及产业化等范畴,而从美术学、民俗学、美学等专业角度对其艺术性进行系统研究的却很少,这就是本文选题的初衷。作为原生态的地域特色文化,从当前经济和文化发展的角度审视,高密扑灰年画具有显著的双重价值,即其文化价值和经济价值。 本文在概述高密扑灰年画产生的渊源、发展过程、技法特色,以及它与高密当地民俗事象关系的基础上,重点对其艺术性和审美意蕴进行了深入解析和阐述。在广泛调查和田野作业以及大量查阅相关文献资料的基础上,对高密扑灰年画艺术的研究界定为对它的艺术特征的分析和美学特质的发掘。本文研究的高密扑灰年画文本主要指传统的,在长期的历史演变过程中形成的、相对稳定的、具有独特的民间美术意义的艺术风貌和审美意蕴的高密扑灰年画,对于当前随着文化生态环境的巨大变化而产生的一些新的风格面貌(譬如倾向学院派、雅化倾向等)的变化持相对批判的态度。本文从五个方面对扑灰年画代表性作品文本的艺术性进行了解析：(1)独特的制作工艺；(2)“写意性”艺术风格；(3)简洁空灵的构图形式；(4)稚拙传神的人物造型；(5)雅俗并行的设色特点。对其审美特征的分析主要包括：扑灰年画的“雅”与“俗”的问题；扑灰年画的审美意蕴；另外还包括在民俗学、社会学等视角中高密扑灰年画反映出的民俗事象和人文精神。高密扑灰年画作为一种地域性很强的民间美术,必然是民俗事象的载体,是深刻反映高密老百姓原生态的精神家园。通过对其艺术性的研究,发掘整理高密扑灰年画蕴含的文化意义,有利于解决其作为非遗项目的传承和保护问题。 本文力图主要从美术学和民俗学双重视野中考查高密扑灰年画作为民间美术的审美价值和文化载体功能,探讨其在当代社会主义新农村中农民新的审美诉求。深刻关注高密扑灰年画的文化生态环境变化,关注它在当代的价值取向和发展走向,从观念上正确对待文人画、学院派美术和民间美术作品的不同艺术追求和审美取向,为在非物质文化遗产问题中正确传承保护和利用高密扑灰年画提供具有实用价值和现实意义的参考建议和思路。 高密扑灰年画的发源地也正是2012年获得诺贝尔文学奖的高密藉作家莫言笔下的高密“东北乡”所在地,莫言曾经直言高密民间艺术就是他写作的土壤,随着世人对莫言及其高密“东北乡”概念的广泛关注,必定也会给高密扑灰年画的宣传和发展带来新的契机。
[Abstract]:Gao Mi-liu New year painting is a rare folk art in Chinese New year painting family. It is a kind of folk art which has been handed down to the present and is a wonderful work of folk art in our country. Although there are already a lot of research materials on Gaomi's ash New year paintings, it can be seen from the existing literature that most of the research materials are limited to such areas as history, development, artists, evolution and inheritance, non-heritage protection, market and industrialization, and so on. But from the art, folklore, aesthetics and other professional angles of systematic research on its artistry, this is the original intention of this paper. As the regional characteristic culture of the original ecology, from the angle of the current economic and cultural development, Gao Mi-liu New year painting has remarkable double value, namely its cultural value and economic value. On the basis of summarizing the origin, development process, technical features and the relationship between the painting and the local folklore, this paper focuses on the deep analysis and elaboration of its artistry and aesthetic implication. On the basis of extensive investigation and field work as well as a great deal of reference to relevant documents, the study of the art of the New year painting of Gaomi is defined as the analysis of its artistic characteristics and the excavation of its aesthetic characteristics. The text of this paper mainly refers to the traditional, in the long-term historical evolution process, relatively stable, with unique folk art significance and aesthetic implication of high-density ash New year pictures. The author holds a relatively critical attitude towards the changes of some new styles (such as academic tendency, elegance tendency, etc.) produced by the great changes in the cultural ecological environment. This paper analyzes the artistry of the representative texts of the New year paintings from five aspects: (1) the unique production technology, (2) the artistic style of "freehand brushwork", (3) the simple and empty form of composition, (2) the artistic style of "freehand brushwork", (3) the simple and empty form of composition; (4) the appearance of young and clumsy characters; (5) the coloring characteristics of elegant and vulgar parallel. The analysis of its aesthetic characteristics mainly includes: the problem of "elegance" and "vulgarity" of the New year painting, the aesthetic implication of the new year painting, and the folklore and humanism reflected in the perspective of folklore and sociology. As a kind of folk art with strong regional character, Gaomi's New year painting is bound to be the carrier of folklore and the spiritual home which deeply reflects the original ecology of Gaomi people. Through the study of its artistry, it is helpful to solve the problem of inheritance and protection as a non-posthumous project by exploring and sorting out the cultural significance contained in the New year painting. This paper tries to examine the aesthetic value and cultural carrier function of the New year painting of Gaomi and folklore from the perspective of art and folklore, and probe into the new aesthetic demands of peasants in the new countryside of contemporary socialism. It pays deep attention to the cultural and ecological environment change of Gaomi lime-throwing New year painting, to its value orientation and development trend in the contemporary era, and to the different artistic pursuits and aesthetic orientations of literati painting, academic fine arts and folk art works. In order to correctly inherit and protect the immaterial cultural heritage and make use of the new year painting with high density, it is of practical value and practical significance. The birthplace of Gaomi's grayish New year paintings is also the location of Gao Mi-yi 's "Northeast Township" written by Mo Yan, who won the Nobel Prize for Literature in 2012. Mo Yan once said that Gaomi Folk Art was the soil of his writing. With the widespread attention to the concept of Mo Yan and his "Northeast Township", it will bring a new opportunity to the propaganda and development of the New year painting.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.3
本文编号：2383687
[Abstract]:Gao Mi-liu New year painting is a rare folk art in Chinese New year painting family. It is a kind of folk art which has been handed down to the present and is a wonderful work of folk art in our country. Although there are already a lot of research materials on Gaomi's ash New year paintings, it can be seen from the existing literature that most of the research materials are limited to such areas as history, development, artists, evolution and inheritance, non-heritage protection, market and industrialization, and so on. But from the art, folklore, aesthetics and other professional angles of systematic research on its artistry, this is the original intention of this paper. As the regional characteristic culture of the original ecology, from the angle of the current economic and cultural development, Gao Mi-liu New year painting has remarkable double value, namely its cultural value and economic value. On the basis of summarizing the origin, development process, technical features and the relationship between the painting and the local folklore, this paper focuses on the deep analysis and elaboration of its artistry and aesthetic implication. On the basis of extensive investigation and field work as well as a great deal of reference to relevant documents, the study of the art of the New year painting of Gaomi is defined as the analysis of its artistic characteristics and the excavation of its aesthetic characteristics. The text of this paper mainly refers to the traditional, in the long-term historical evolution process, relatively stable, with unique folk art significance and aesthetic implication of high-density ash New year pictures. The author holds a relatively critical attitude towards the changes of some new styles (such as academic tendency, elegance tendency, etc.) produced by the great changes in the cultural ecological environment. This paper analyzes the artistry of the representative texts of the New year paintings from five aspects: (1) the unique production technology, (2) the artistic style of "freehand brushwork", (3) the simple and empty form of composition, (2) the artistic style of "freehand brushwork", (3) the simple and empty form of composition; (4) the appearance of young and clumsy characters; (5) the coloring characteristics of elegant and vulgar parallel. The analysis of its aesthetic characteristics mainly includes: the problem of "elegance" and "vulgarity" of the New year painting, the aesthetic implication of the new year painting, and the folklore and humanism reflected in the perspective of folklore and sociology. As a kind of folk art with strong regional character, Gaomi's New year painting is bound to be the carrier of folklore and the spiritual home which deeply reflects the original ecology of Gaomi people. Through the study of its artistry, it is helpful to solve the problem of inheritance and protection as a non-posthumous project by exploring and sorting out the cultural significance contained in the New year painting. This paper tries to examine the aesthetic value and cultural carrier function of the New year painting of Gaomi and folklore from the perspective of art and folklore, and probe into the new aesthetic demands of peasants in the new countryside of contemporary socialism. It pays deep attention to the cultural and ecological environment change of Gaomi lime-throwing New year painting, to its value orientation and development trend in the contemporary era, and to the different artistic pursuits and aesthetic orientations of literati painting, academic fine arts and folk art works. In order to correctly inherit and protect the immaterial cultural heritage and make use of the new year painting with high density, it is of practical value and practical significance. The birthplace of Gaomi's grayish New year paintings is also the location of Gao Mi-yi 's "Northeast Township" written by Mo Yan, who won the Nobel Prize for Literature in 2012. Mo Yan once said that Gaomi Folk Art was the soil of his writing. With the widespread attention to the concept of Mo Yan and his "Northeast Township", it will bring a new opportunity to the propaganda and development of the New year painting.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.3
【参考文献】
相关期刊论文 前4条
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2 朱军杰;;乡土美术教材人文精神之我见[J];中国科教创新导刊;2011年36期
3 郑军;;高密扑灰年画的造型与色彩[J];山东社会科学;2007年09期
4 ;莫言:我们的诺贝尔文学奖[J];青年文学家;2012年19期
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