本文選題：青陽農(nóng)民畫 + 起源�。� 參考：《安徽工程大學(xué)》2017年碩士論文

【摘要】：近年來,我國年輕一代人對中國傳統(tǒng)的民間美術(shù)紛紛報(bào)以冷漠、不感興趣的態(tài)度,這種對傳統(tǒng)藝術(shù)的排斥感讓民間美術(shù)的生存空間愈加狹小,在我們看不見的地方正以意想不到的速度快速地消亡。但是隨著國家對這方面的重視,加之各省市申請國家級、省級非物質(zhì)文化遺產(chǎn)的活動(dòng),讓民間美術(shù)的研究成為當(dāng)下的熱點(diǎn)話題,被社會各界所廣泛關(guān)注。盡管許多專家已經(jīng)對這方面進(jìn)行了廣泛的研究,但仍有不全面的地方,因此我們所要做的是在還需要深入的方面繼續(xù)研究。本篇論文著重點(diǎn)在于對青陽農(nóng)民畫的藝術(shù)價(jià)值、藝術(shù)特征以及審美特征的研究,主要目的就在于希望從專業(yè)的角度去分析一些新的問題。在這篇論文中,首先要點(diǎn)明的是為什么要進(jìn)行安徽青陽農(nóng)民畫的研究、這種研究對于這一民間美術(shù)樣式的發(fā)展又有著什么樣的意義;并且梳理出在它過去經(jīng)歷的年月里已有的研究成果,明確指出本篇論文在研究角度上的創(chuàng)新之處即主要從藝術(shù)特征方面入手,分析作品中所體現(xiàn)的風(fēng)格特點(diǎn)以及總結(jié)其地方文化特性—皖南徽文化。其次沿著不同的方向來梳理青陽農(nóng)民畫從古到今其形成發(fā)展的前因后果,知道它到底從何而來,發(fā)展至今又經(jīng)歷了哪些階段以及未來發(fā)展的方向。再次,我們要在創(chuàng)作風(fēng)格上進(jìn)行系統(tǒng)的研究,首先要大致地了解它,從地域以及時(shí)代的角度分析它的藝術(shù)特點(diǎn);從已有作品中的所繪對象、情節(jié)、場景來總結(jié)它主要的創(chuàng)作題材;從作品中的人、事、物的造型上尋找自身的共性以及區(qū)別于其他農(nóng)民畫的個(gè)性;從畫面中所有物體的排列布局中找到青陽農(nóng)民畫的構(gòu)圖方式;同時(shí)對畫面色彩搭配、創(chuàng)作風(fēng)格進(jìn)行深入分析,得出其獨(dú)到之處,以此表明為什么全國各地有名的農(nóng)民畫不可謂少,青陽農(nóng)民畫作品依然是民間美術(shù)體系中不可或缺的一部分。通過這樣的分析就能大致了解到青陽農(nóng)民畫作為一種民間美術(shù)有著怎樣奇妙的藝術(shù)價(jià)值,也說明了此次研究的意義是十分重大的。最后就要從傳承和發(fā)展的方面研究它的發(fā)展現(xiàn)狀并根據(jù)當(dāng)?shù)氐木唧w情況提出一些可行性高的措施建議,以促進(jìn)青陽農(nóng)民畫的產(chǎn)業(yè)化之路。青陽農(nóng)民畫是融合徽州三雕、民間剪紙、墻飾畫于一體的美術(shù)形式,創(chuàng)作上具有濃郁的皖南徽文化特征,使之不同于其他農(nóng)民畫樣式,形成了獨(dú)特的藝術(shù)表現(xiàn)力。我們現(xiàn)在對于青陽農(nóng)民畫所做的研究,就是為了讓這一特別的民間美術(shù)形式不至于在未來走下坡路,目的就是為了總結(jié)其獨(dú)特的視覺形式語言,為初學(xué)者提供堅(jiān)實(shí)的理論基礎(chǔ),為培養(yǎng)下一代的創(chuàng)作者獻(xiàn)出自己的一份力量。
[Abstract]:In recent years, the younger generation of our country have reported an attitude of indifference and lack of interest to Chinese traditional folk art. This sense of rejection of traditional art has made the living space of folk art more and more narrow. Where we can't see it is dying out at an unexpected rate. But with the attention of the state and the activities of the provinces and cities to apply for national and provincial intangible cultural heritage, the research of folk art has become a hot topic, which has been widely concerned by all walks of life. Although many experts have carried out extensive research in this area, there are still some incomplete areas, so what we need to do is to continue to study in depth. This paper focuses on the study of the artistic value, artistic characteristics and aesthetic characteristics of Qingyang Peasant painting. The main purpose of this paper is to analyze some new problems from a professional point of view. In this paper, the first point is why the study of Anhui Qingyang Peasant painting, this kind of research for the development of this folk art style and what kind of significance; And combing out the existing research results in the past years and months of its experience, clearly pointing out that the innovation of this paper is mainly from the aspect of artistic characteristics. This paper analyzes the style and characteristics of the works and summarizes the local cultural characteristics-the culture of the southern Anhui emblem. Secondly, along different directions to comb Qingyang Peasant painting from ancient to present its formation and development of the causes and consequences, know where it comes from, which stages of development has been experienced and the direction of future development. Thirdly, we should make a systematic study on the creative style, first of all, we should understand it roughly, analyze its artistic characteristics from the point of view of the region and the times, and draw objects and plots from the existing works. The scene sums up its main creative themes; looks for its own commonness in the form of the people, things and objects in the works, and distinguishes itself from other peasant paintings, and finds the composition of Qingyang peasants' paintings from the arrangement and layout of all the objects in the picture; At the same time, the collocation of the picture color, creative style in-depth analysis, to find out its unique, so as to show why there are many famous peasant paintings throughout the country, Qingyang Peasant painting is still an indispensable part of the folk art system. Through this analysis, we can get a general understanding of Qingyang Peasant painting as a folk art has how wonderful artistic value, but also shows that the significance of this study is very important. Finally, we should study the present situation of its development from the aspect of inheritance and development, and put forward some feasible measures and suggestions according to the local specific conditions, in order to promote the industrialization road of Qingyang peasant painting. Qingyang Peasant painting is an art form that integrates Huizhou three carvings, folk paper-cut and wall decoration painting. It has rich cultural characteristics of the emblem of southern Anhui in creation, which makes it different from other peasant painting styles and forms a unique artistic expressive force. Our current research on the paintings of farmers in Qingyang is to prevent this particular form of folk art from going downhill in the future. The purpose is to sum up its unique visual form language and to provide a solid theoretical basis for beginners. Give one's share to the next generation of creators.
【學(xué)位授予單位】：安徽工程大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J219

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本文編號：1958117