本文選題：魯派內(nèi)畫鼻煙壺　切入點：非物質(zhì)文化遺產(chǎn)　出處：《山東藝術(shù)學(xué)院》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：魯派內(nèi)畫鼻煙壺起源于山東淄博博山，是用自制的鉤形內(nèi)畫竹筆，在口小如豆的琉璃鼻煙壺內(nèi)將大畫之精神融于方寸天地間的傳統(tǒng)民間工藝品，以其精致奇巧的造型，巧奪天工的內(nèi)畫技藝，深厚的民俗文化底蘊和清新雅致的藝術(shù)特色聞名于世，是東方工藝美術(shù)的一朵奇葩，更是極具民族和地域特色的非物質(zhì)文化遺產(chǎn)。 魯派內(nèi)畫鼻煙壺藝術(shù)在百年的發(fā)展歷程中涌現(xiàn)了眾多的內(nèi)畫名家和藝術(shù)精品，但至今尚未有客觀的、系統(tǒng)的、科學(xué)的專門研究成果問世，而后繼乏人瀕臨斷代的尷尬現(xiàn)實，更使我們感受到搶救、保護和發(fā)展這一珍貴非物質(zhì)文化遺產(chǎn)的緊迫性和必要性，，因此本文以魯派內(nèi)畫鼻煙壺現(xiàn)狀調(diào)查與保護思考為主題，在田野調(diào)查的基礎(chǔ)上綜合運用文獻調(diào)查，歸納比較分析等研究方法，對魯派內(nèi)畫鼻煙壺的發(fā)展脈絡(luò)、價值、現(xiàn)狀和保護措施進行了系統(tǒng)的研究闡述。 本文主要分為以下四個方面，第一章梳理了魯派內(nèi)畫鼻煙壺的發(fā)展文脈，通過博山琉璃業(yè)的繁盛分析了影響魯派內(nèi)畫鼻煙壺產(chǎn)生的客觀因素，通過內(nèi)畫技藝的傳入介紹了魯派內(nèi)畫的起源，通過鼻煙壺的興盛探究了魯派內(nèi)畫的百年發(fā)展歷史，通過傳統(tǒng)文化觀念的淡化闡述了魯派內(nèi)畫衰落的總體背景和原因；第二章通過壺坯、內(nèi)畫毛筆的制作和內(nèi)畫技法的運用介紹了魯派內(nèi)畫的工藝流程和工藝特點，結(jié)合內(nèi)畫家作品的分析總結(jié)了魯派內(nèi)畫構(gòu)圖飽滿壯闊，線條精細流暢，設(shè)色溫潤典雅，意境深邃雋永的審美特點和藝術(shù)特色，從宮廷和民間兩個維度探索了魯派內(nèi)畫所承載的深厚的文化內(nèi)涵，從當(dāng)代魯派內(nèi)畫收藏市場和旅游市場的發(fā)展探究魯派內(nèi)畫鼻煙壺的經(jīng)濟價值；第三章分析介紹了魯派內(nèi)畫鼻煙壺的傳承譜系、傳承方式和代表性內(nèi)畫家的作品和藝術(shù)風(fēng)格，并重點探尋了魯派發(fā)展現(xiàn)狀中存在的主要問題；第四章從“非物質(zhì)文化遺產(chǎn)”的視野下歸納出魯派內(nèi)畫鼻煙壺的理論保護原則，并在這些原則的基礎(chǔ)上提出魯派內(nèi)畫的具體保護措施，如加大政府支持力度，建立魯派內(nèi)畫鼻煙壺博物館，建立行業(yè)組織“魯派內(nèi)畫鼻煙壺藝術(shù)發(fā)展專業(yè)學(xué)會”，進行教育傳承保護和生產(chǎn)性保護等。期望本文的研究可以為魯派內(nèi)畫鼻煙壺、淄博傳統(tǒng)民間工藝和非物質(zhì)文化遺產(chǎn)保護的理論研究提供有益的補充和參考，對魯派內(nèi)畫鼻煙壺的申遺工作和保護實踐活動提供一定的借鑒和新思路，從而實現(xiàn)魯派內(nèi)畫鼻煙壺藝術(shù)更好的傳承、保護和發(fā)展。
[Abstract]:The snuff pot of the Lu faction painting originated from the mountain of Zibo, Shandong province. It is a bamboo pen with a self-made hook shape. It melts the spirit of the large painting into the traditional folk arts and crafts between the square inches of the earth and the world in a small bean-shaped snuff pot, with its exquisite and ingenious shape. The exquisite art of inner painting, deep folk culture and fresh and elegant artistic features are famous all over the world. It is a wonderful flower of eastern arts and crafts, and also an intangible cultural heritage with national and regional characteristics. In the hundred years of development, many famous artists and fine works of art have emerged in the course of the development of the inner painting of the Lu School, but no objective, systematic and scientific special research results have come out yet, and the awkward reality that no successor has been on the verge of a new era has yet to come out. It also makes us feel the urgency and necessity of rescuing, protecting and developing this precious intangible cultural heritage. On the basis of field investigation, this paper makes a systematic study on the development, value, present situation and protection measures of the snuff bottles drawn by the Lu faction by using the literature investigation, induction and comparative analysis and other research methods. This paper is mainly divided into the following four aspects. The first chapter combs the development context of the inner painted snuff bottles of the Lu school, and analyzes the objective factors that affect the production of the snuff bottles of the inner painting of the Lu school through the flourishing of the glass industry in Boshan. This paper introduces the origin of the inner painting of the Lu school through the introduction of the art of inner painting, probes into the history of the development of the inner painting of the school of Lu through the prosperity of snuff pot, and expounds the overall background and reason of the decline of the inner painting of the school of Lu through the desalination of the traditional cultural concept. The second chapter introduces the technological process and technical characteristics of the inner painting of the Lu School through the production of the pot blank, the brushwork of the inner painting and the application of the techniques of the inner painting. Combined with the analysis of the works of the inner painters, it sums up the composition of the inner painting of the faction of the Lu school, which is full and broad, and the lines are fine and smooth. The aesthetic features and artistic features of color and elegance and artistic conception are profound and meaningful. From the two dimensions of court and folk, this paper explores the profound cultural connotations carried by the inner paintings of the Lu faction. This paper probes into the economic value of the snuff bottle of the inner painting of the Lu school from the development of the collection market and the tourism market of the contemporary Lu faction painting. Chapter three analyzes the inheritance genealogy, the inheritance mode and the works and artistic style of the representative inner painting snuff pot. The main problems existing in the development of Shandong School are discussed in detail. Chapter 4th concludes the theoretical protection principles of snuff bottles drawn by Lu School from the perspective of "Intangible Cultural Heritage". On the basis of these principles, the concrete protection measures of the inner painting of the Lu faction are put forward, such as increasing the support of the government and establishing the museum of the snuff bottle of the inner painting of the Lu faction. Set up the professional society of the art development of Lupai inner drawing snuff bottle, and carry on the education inheritance protection and the productive protection etc. It is expected that the research of this paper can draw the snuff bottle for the Lu faction interior. The theoretical research on the protection of traditional folk crafts and intangible cultural heritage in Zibo provides a useful supplement and reference, and provides some reference and new ideas for the application work and protection practice of the inner drawing snuff bottles of the Lu School. So as to achieve better inheritance, protection and development of the inner painting of snuff bottles.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：TQ171;J527

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相關(guān)期刊論文 前2條

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本文編號：1581454