浮世繪今日現(xiàn)狀對(duì)年畫發(fā)展的啟示
發(fā)布時(shí)間：2018-11-17 19:28
【摘要】：新時(shí)期以來美術(shù)教育工作者逐漸認(rèn)識(shí)到年畫這一傳統(tǒng)畫種的民俗價(jià)值和美學(xué)意義，不少學(xué)者對(duì)年畫史重新梳理，并進(jìn)行大量鄉(xiāng)野考察。學(xué)者的建議以及保護(hù)國(guó)家原生文化的驅(qū)動(dòng)力使得年畫已經(jīng)進(jìn)入官方保護(hù)的視野，但卻并未受到廣泛民眾和藝術(shù)工作者的足夠重視。在這諸多呼吁聲中，大多學(xué)者只看到了史料研究、古版保護(hù)和博物館工作的重要性，卻少有針對(duì)如何真正解決現(xiàn)實(shí)困境問題的解答。 本文在大量分析查找資料的基礎(chǔ)上，綜合運(yùn)用橫向比較和縱向研究的文藝學(xué)研究方法，通過梳理年畫由盛轉(zhuǎn)衰的過程，陳述年畫今日面臨小眾賞玩的困境，同時(shí)用比較研究的方法觀照同是民族美學(xué)代表的浮世繪藝術(shù)在今日依然受到追捧的現(xiàn)狀，通過分析這種現(xiàn)狀產(chǎn)生的原因，對(duì)年畫在今日如何發(fā)展做出了大膽的建議。 本文共分為四章，第一章梳理年畫主要產(chǎn)地的歷史流變，列舉四大年畫產(chǎn)地的地域特征和審美范式，介紹年畫主要的功能和作用以及年畫的民俗價(jià)值；第二章梳理不同年代浮世繪代表畫家及其主要作品，并依次分析這些浮世繪作品可觀照到的日本民族心理；第三章分析浮世繪和年畫共同的大眾文化屬性，，通過闡述大眾文化理論，得出年畫面臨要在大眾文化普及的文化現(xiàn)狀中生存和發(fā)展的課題；第四章列舉當(dāng)代中日兩國(guó)藝術(shù)工作者分別對(duì)年畫和浮世繪的傳統(tǒng)美學(xué)元素做了怎樣的保護(hù)和革新，發(fā)現(xiàn)我國(guó)在年畫發(fā)展觀念革新上的不足，從國(guó)家教育和藝術(shù)工作者兩方面對(duì)年畫的現(xiàn)世發(fā)展做出合理建議；結(jié)語部分總結(jié)了年畫在今日面臨何種大眾文化，提出此背景下我們除對(duì)年畫做靜態(tài)的保護(hù)外，還需對(duì)它做動(dòng)態(tài)的活性的保護(hù)，由此相信年畫這一傳統(tǒng)藝術(shù)重新進(jìn)入世界民眾的視野指日可待。
[Abstract]:Since the new era, art educators have gradually realized the folk value and aesthetic significance of New year painting, and many scholars have rearranged the history of New year painting and made a lot of rural investigation. Scholars' advice and the driving force behind the preservation of the country's native culture have made New year's paintings officially protected, but they have not received enough attention from the general public and art workers. Among these appeals, most scholars have only seen the importance of historical materials research, ancient edition protection and museum work, but there are few answers to the problem of how to solve the real dilemma. On the basis of a large amount of analysis and searching data, this paper synthetically applies the literature and art research methods of horizontal comparison and longitudinal research, through combing the process of New year's Pictures from prosperity to decline, it states that New year's Pictures are faced with the dilemma of minority enjoyment and play today. At the same time, the method of comparative study is used to study the present situation of the art of the Archaean painting, which is also the representative of national aesthetics. Through the analysis of the reasons for the present situation, the author makes some bold suggestions on how to develop the New year painting today. This paper is divided into four chapters. The first chapter combs the historical changes of the main producing areas of New year Pictures, enumerates the regional characteristics and aesthetic patterns of the four major production areas of New year Pictures, introduces the main functions and functions of New year Pictures and the folklore value of New year Pictures. In the second chapter, the author combs the representative painters of the different ages and their main works, and analyzes the Japanese national psychology that these paleocene paintings have taken into account in turn. The third chapter analyzes the common characteristics of the popular culture between the New year painting and the New year painting, through the elaboration of the popular culture theory, it is concluded that the New year painting is faced with the subject of survival and development in the cultural situation of popular culture. The fourth chapter enumerates the protection and innovation of the traditional aesthetic elements of the New year painting and the New year painting, and finds out the deficiency in the innovation of the concept of the development of the New year Pictures in our country. From two aspects of national education and art workers to make reasonable suggestions for the development of the new year painting; The conclusion part summarizes what kind of popular culture New year Pictures face today, and puts forward that we should protect the New year Pictures in the dynamic and active way in addition to the static protection of the New year Pictures. Therefore, it is believed that the traditional art of New year's Pictures will re-enter the world's people's horizon.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.3
本文編號(hào)：2338826
[Abstract]:Since the new era, art educators have gradually realized the folk value and aesthetic significance of New year painting, and many scholars have rearranged the history of New year painting and made a lot of rural investigation. Scholars' advice and the driving force behind the preservation of the country's native culture have made New year's paintings officially protected, but they have not received enough attention from the general public and art workers. Among these appeals, most scholars have only seen the importance of historical materials research, ancient edition protection and museum work, but there are few answers to the problem of how to solve the real dilemma. On the basis of a large amount of analysis and searching data, this paper synthetically applies the literature and art research methods of horizontal comparison and longitudinal research, through combing the process of New year's Pictures from prosperity to decline, it states that New year's Pictures are faced with the dilemma of minority enjoyment and play today. At the same time, the method of comparative study is used to study the present situation of the art of the Archaean painting, which is also the representative of national aesthetics. Through the analysis of the reasons for the present situation, the author makes some bold suggestions on how to develop the New year painting today. This paper is divided into four chapters. The first chapter combs the historical changes of the main producing areas of New year Pictures, enumerates the regional characteristics and aesthetic patterns of the four major production areas of New year Pictures, introduces the main functions and functions of New year Pictures and the folklore value of New year Pictures. In the second chapter, the author combs the representative painters of the different ages and their main works, and analyzes the Japanese national psychology that these paleocene paintings have taken into account in turn. The third chapter analyzes the common characteristics of the popular culture between the New year painting and the New year painting, through the elaboration of the popular culture theory, it is concluded that the New year painting is faced with the subject of survival and development in the cultural situation of popular culture. The fourth chapter enumerates the protection and innovation of the traditional aesthetic elements of the New year painting and the New year painting, and finds out the deficiency in the innovation of the concept of the development of the New year Pictures in our country. From two aspects of national education and art workers to make reasonable suggestions for the development of the new year painting; The conclusion part summarizes what kind of popular culture New year Pictures face today, and puts forward that we should protect the New year Pictures in the dynamic and active way in addition to the static protection of the New year Pictures. Therefore, it is believed that the traditional art of New year's Pictures will re-enter the world's people's horizon.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.3
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