内蒙古巴林左旗皮影艺术研究
发布时间：2019-04-23 13:46
【摘要】：本文将以探寻中国皮影艺术的起源为开始,围绕内蒙古巴林左旗皮影艺术的传入、发展、制作工艺等开展细致深入的田野调查工作,简析了内蒙古巴林左旗的人文地理及皮影戏传入后的发展概况,并借鉴已有的研究成果,对皮影艺术传入内蒙古巴林地区后的变化、差异进行梳理,对内蒙古巴林左旗皮影艺人的创造性智慧,以及当地农牧民对巴林左旗皮影艺术审美情趣的变迁、皮影艺术在当地的传承保护等问题进行分析,并对内蒙古巴林左旗皮影地域化、民族化风格进行阐释。 本论文的框架共分为五个部分：第一部分对中国皮影艺术的起源进行探寻和研究；第二部分对中国皮影戏的主要区域性流派及内蒙古巴林左旗皮影艺术所属流派进行介绍；第三部分对内蒙古巴林左旗的人文地理及皮影传入、发展概况进行概述；第四部分对内蒙古巴林左旗皮影艺术的人物造型,影人、景片制作,剧本和唱腔,表演进行田野考查,并分析了内蒙古巴林左旗皮影艺术的地域化、民族化风格；第五部分对内蒙古巴林左旗皮影艺术的发展现状与传承和保护问题进行了阐析。
[Abstract]:Starting with exploring the origin of Chinese shadow art, this paper will focus on the introduction, development and production technology of shadow art in Balinzuo Banner, Inner Mongolia, and carry out detailed and in-depth field work. This paper briefly analyzes the general situation of the human geography of Balinzuo Banner in Inner Mongolia and the development after the introduction of shadow play, and uses the existing research results for reference to sort out the changes and differences of shadow art after it is introduced into Bahrain area of Inner Mongolia. This paper analyzes the creative wisdom of shadow artists in Balinzuo Banner, Inner Mongolia, and the changes in aesthetic interest of shadow art in Balinzuo Banner by local farmers and herdsmen, as well as the inheritance and protection of shadow art in the region, and so on. And the Inner Mongolia Balinzuo Banner shadow regionalization, nationalization style interpretation. The framework of this paper is divided into five parts: the first part explores and studies the origin of Chinese shadow art, the second part introduces the main regional schools of Chinese shadow play and the schools of shadow art of Balinzuo Banner in Inner Mongolia. The third part of the Inner Mongolia Balinzuo Banner of human geography and shadow introduction, the general situation of development; The fourth part of the shadow art of the Inner Mongolia Balinzuo Banner shadow art character modeling, film production, screenplay and singing, performance on the field, and analysis of Inner Mongolia Barinzuo Banner shadow art regionalization, nationalization style; The fifth part analyzes the present situation, inheritance and protection of shadow art in Balinzuo Banner, Inner Mongolia.
【学位授予单位】：内蒙古大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J827
本文编号：2463520
[Abstract]:Starting with exploring the origin of Chinese shadow art, this paper will focus on the introduction, development and production technology of shadow art in Balinzuo Banner, Inner Mongolia, and carry out detailed and in-depth field work. This paper briefly analyzes the general situation of the human geography of Balinzuo Banner in Inner Mongolia and the development after the introduction of shadow play, and uses the existing research results for reference to sort out the changes and differences of shadow art after it is introduced into Bahrain area of Inner Mongolia. This paper analyzes the creative wisdom of shadow artists in Balinzuo Banner, Inner Mongolia, and the changes in aesthetic interest of shadow art in Balinzuo Banner by local farmers and herdsmen, as well as the inheritance and protection of shadow art in the region, and so on. And the Inner Mongolia Balinzuo Banner shadow regionalization, nationalization style interpretation. The framework of this paper is divided into five parts: the first part explores and studies the origin of Chinese shadow art, the second part introduces the main regional schools of Chinese shadow play and the schools of shadow art of Balinzuo Banner in Inner Mongolia. The third part of the Inner Mongolia Balinzuo Banner of human geography and shadow introduction, the general situation of development; The fourth part of the shadow art of the Inner Mongolia Balinzuo Banner shadow art character modeling, film production, screenplay and singing, performance on the field, and analysis of Inner Mongolia Barinzuo Banner shadow art regionalization, nationalization style; The fifth part analyzes the present situation, inheritance and protection of shadow art in Balinzuo Banner, Inner Mongolia.
【学位授予单位】：内蒙古大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J827
【参考文献】
相关期刊论文 前10条
1 郑劭荣;;湖南影戏的历史及其活动现状[J];长沙理工大学学报(社会科学版);2008年02期
2 王英;宋伟;;浅析传统皮影艺术的美学特征[J];陶瓷研究与职业教育;2007年03期
3 韦凯;张星;贾涛;;华县皮影雕刻艺术造型研究[J];美术大观;2008年01期
4 李录成;;陕西皮影艺术特点略述[J];美术观察;2010年04期
5 王建民;;艺术人类学理论范式的转换[J];民族艺术;2007年01期
6 高民;郭线庐;;陕西东路皮影装饰艺术持续性发展空间研究[J];南京艺术学院学报(美术与设计);2010年03期
7 黄新华;;浅谈青海皮影戏[J];中国土族;2007年03期
8 朱丹;木偶戏皮影戏的发展情况和艺术成就[J];戏剧报;1955年05期
9 杨军燕;;对皮影戏衰落的思考[J];艺术教育;2006年05期
10 王默根;董铁军;;唐山皮影及其造型艺术[J];装饰;2007年04期
，本文编号：2463520
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2463520.html
