本文選題：月份牌畫　切入點：近代　出處：《揚州大學》2009年碩士論文

【摘要】： 20世紀上半葉的中國在激烈動蕩下不斷和外來文化融合漸變,呈現(xiàn)出開放式的發(fā)展狀態(tài)。這一時期的上海由于特殊的政治經(jīng)濟環(huán)境成為近代中國乃至東南亞商品經(jīng)濟快速發(fā)展的城市。月份牌畫是這一時期商家為了更好地宣傳產(chǎn)品贈送給消費者的廣告畫,具備了宣傳、日歷和裝飾的功能。它是在外來文化影響下與本土趣味相結(jié)合的產(chǎn)物,并非自發(fā)生成。 本文以20世紀50年代之前的月份牌畫為研究對象,以其題材內(nèi)容的轉(zhuǎn)變來研究近代上海政治、經(jīng)濟、文化背景下市民審美趣味的變遷。作為從傳統(tǒng)年畫發(fā)展而來的商業(yè)廣告畫,月份牌畫的發(fā)展表征了農(nóng)耕社會的民間藝術(shù)是如何從表現(xiàn)形式和運作方式上徹底轉(zhuǎn)變?yōu)楝F(xiàn)代通俗藝術(shù)的。 第一部分主要研究月份牌畫相較于傳統(tǒng)年畫在題材內(nèi)容方面的改變。隨著近代上海商業(yè)社會的發(fā)展,傳統(tǒng)的題材和人物形象已經(jīng)無法滿足多元文化熏陶下的民眾。1914年鄭曼陀以水彩技法和傳統(tǒng)上色結(jié)合的彩筆淡彩這一新穎的表現(xiàn)手段來繪制不同于傳統(tǒng)的美人圖,這在當時極大的滿足了商業(yè)廣告和市民階層對新興時尚的需求。這種有別于傳統(tǒng)的用寫實技巧反映現(xiàn)實人物的作品拉近了與觀眾的距離,獲得了巨大的商業(yè)成功。之后月份牌畫的題材和內(nèi)容便逐漸轉(zhuǎn)向表現(xiàn)以美人為主體的現(xiàn)實生活。 第二部分從月份牌畫的內(nèi)容窺視清末民初的社會風情,研究當時社會的生活方式。具體分析畫中展現(xiàn)出的不同于以往的服裝首飾,居住環(huán)境和休閑娛樂等內(nèi)容及女性形象的轉(zhuǎn)變。 第三部分分析在近代上海市民階層崛起和大眾文化流行的環(huán)境下民眾審美向崇洋和商業(yè)世俗化的轉(zhuǎn)變。就市民審美趣味變化這一過程進行回顧和整理。 第四部分研究月份牌畫種隱含的近代審美變化成因。將從時代社會的根源、創(chuàng)作主體的轉(zhuǎn)變和受眾心態(tài)的變化這三個方面進行分析總結(jié)。
[Abstract]:In the first half of the 20th century, China continued to merge and change with foreign culture under the fierce turbulence, showing an open development state.During this period, Shanghai became a rapidly developing city of commodity economy in modern China and even Southeast Asia because of its special political and economic environment.In order to better publicize the advertising pictures given to consumers, the month brand paintings have the functions of advertising, calendars and decoration.It is under the influence of foreign culture and the combination of local taste, not spontaneous production.This paper studies the changes of the aesthetic taste of citizens in modern Shanghai under the background of politics, economy and culture in the light of the change of its subject matter.As a commercial advertisement painting developed from the traditional New year painting, the development of the month card painting symbolizes how the folk art in the farming society has completely changed from the form of expression and operation to the modern popular art.The first part mainly studies the change of the subject matter in the traditional New year painting.With the development of modern Shanghai commercial society,In 1914, Zheng Mantuo used the watercolor technique and the traditional color painting to draw the beauty map which was different from the traditional painting.This at that time greatly satisfied the commercial advertisement and the citizen class to the emerging fashion demand.Different from the traditional realistic techniques, the works draw close to the audience and achieve great commercial success.After that, the subject matter and content of the month-card painting gradually turned to the real life with beauty as the main body.The second part studies the social style of the late Qing Dynasty and the early Republic of China.Specific analysis of the painting shows different from the previous clothing jewelry, living environment, leisure and entertainment, and female image changes.The third part analyzes the transformation from popular aesthetics to foreign worship and commercial secularization under the background of the rise of modern Shanghai civil class and popular popular culture.This paper reviews and arranges the process of the change of citizen's aesthetic taste.The fourth part studies the causes of the modern aesthetic changes implied by the lunar signs.It will be analyzed and summarized from three aspects: the source of the times, the change of the creative subject and the change of the audience mentality.
【學位授予單位】：揚州大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J209.2

【引證文獻】

相關博士學位論文 前1條

1 楊文君;杭稚英研究[D];上海大學;2012年

相關碩士學位論文 前2條

1 吳思婷;女性身體解放與“人”的關注[D];暨南大學;2011年

2 喬監(jiān)松;zI英畫室研究[D];浙江理工大學;2011年

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本文編號：1696271