【摘要】：廣平水陸畫(huà)是在河北廣平地區(qū)民間流傳并仍在傳承發(fā)展的水陸畫(huà)技藝,由于脫離了水陸法會(huì)而獨(dú)立發(fā)展幾十年,已經(jīng)不能用傳統(tǒng)水陸畫(huà)的概念來(lái)進(jìn)行限定,它更傾向于一種融合了佛、道、儒三教合一思想和民間信仰觀念的宗教人物畫(huà)。本文從民藝學(xué)的角度出發(fā),結(jié)合了民俗學(xué)、藝術(shù)學(xué)、藝術(shù)人類學(xué)、圖像學(xué)等學(xué)科的相關(guān)理論和研究方法,對(duì)廣平水陸畫(huà)的發(fā)展歷程、制作技藝、藝術(shù)特色、宗教思想和價(jià)值功用等幾個(gè)方面進(jìn)行了探討和研究。結(jié)合了傳統(tǒng)水陸畫(huà)的興起與衰落,從社會(huì)歷史背景、經(jīng)濟(jì)文化背景、民眾信仰認(rèn)知的變化以及廣平水陸畫(huà)的宗教性質(zhì)等幾個(gè)方面分析了廣平水陸畫(huà)“興起——沉寂——重現(xiàn)”這一發(fā)展變化過(guò)程的原因,并記錄其發(fā)展現(xiàn)狀。通過(guò)對(duì)繪制的工具材料與過(guò)程的記錄,總結(jié)了廣平水陸畫(huà)由于其繪制方法而形成的一種共有的藝術(shù)特色,以及由于社會(huì)經(jīng)濟(jì)因素的影響而導(dǎo)致的廣平水陸畫(huà)藝術(shù)風(fēng)格的變化。同時(shí)又根據(jù)社會(huì)環(huán)境因素導(dǎo)致廣平水陸畫(huà)產(chǎn)生的藝術(shù)風(fēng)格變化將其發(fā)展歷程分為三個(gè)階段,對(duì)每個(gè)階段的圖像從題材內(nèi)容、人物造型、表現(xiàn)技法及藝術(shù)特色等幾個(gè)方面進(jìn)行解讀。在圖像解讀的過(guò)程中發(fā)現(xiàn)民眾信仰認(rèn)知的變化和社會(huì)功用的轉(zhuǎn)變對(duì)廣平水陸畫(huà)的題材流變產(chǎn)生了重要的影響。從而又結(jié)合圖像內(nèi)容對(duì)廣平水陸畫(huà)“三教合一”的宗教思想和民間信仰相融合的宗教性質(zhì)以及發(fā)生改變的社會(huì)功用進(jìn)行分析。最終提出了廣平水陸畫(huà)屬于北水陸系統(tǒng)的宗教性質(zhì),對(duì)過(guò)渡時(shí)期的水陸畫(huà)發(fā)展歷程進(jìn)行了補(bǔ)充,并對(duì)廣平水陸畫(huà)發(fā)展的影響因素進(jìn)行了探討。
[Abstract]:Guangping water- and land-based painting is a folk art spread in Guangping area of Hebei Province and is still being inherited and developed. It has developed independently for several decades because of its separation from the Land and Water Law Society. It can no longer be limited by the concept of traditional water and land painting. It tends to be a religious figure painting that combines the three religions of Buddhism, Taoism and Confucianism. From the point of view of folk art, this paper combines the relevant theories and research methods of folklore, art anthropology, graphic science and other disciplines, to the development process, production skills, artistic characteristics of Guangping waterfront painting. Several aspects such as religious thought and value function are discussed and studied. Combining the rise and decline of traditional waterfront painting, from the social and historical background, economic and cultural background, The change of people's belief cognition and the religious nature of Guangping's water and land paintings are analyzed in this paper, and the reasons for the development and change of Guangping's water and land paintings are analyzed, and the present situation of their development is recorded. By recording the tool materials and the process of drawing, this paper summarizes a common artistic feature of Guangping water and land painting because of its drawing method, and the change of the art style of Guangping water and land painting due to the influence of social and economic factors. At the same time, according to the changes of artistic style caused by social environmental factors, Guangping waterfront painting is divided into three stages. Performance techniques and artistic characteristics and other aspects of interpretation. In the process of image interpretation, it is found that the changes of people's belief cognition and social function have an important influence on the subject matter evolution of Guangping's waterfront painting. The paper also analyzes the religious nature and social function of the fusion of religious thought and folk belief in Guangping's waterfront painting "three religions in one" with the image content. Finally, the author puts forward the religious nature of Guangping water and land painting, complements the development course of water and land painting during the transitional period, and probes into the influencing factors of the development of Guangping water and land painting.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J219

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1 傅伊;河北廣平水陸畫(huà)研究[D];山東工藝美術(shù)學(xué)院;2017年

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本文編號(hào)：2158560