继承与流变—改革开放以来杨家埠木版年画研究

发布时间：2018-04-10 22:31

本文选题：杨家埠木版年画 + 胶印年画　；参考：《中央美术学院》2016年博士论文

【摘要】：本文以改革开放以来山东潍坊杨家埠年画作为研究对象,田野调查和研究区域选定在杨家埠年画的产地——西杨家埠村,在杨家埠年画产地空间下,以时间为线索,通过对年画创作者、生产者和消费者以及政府的具体行为和活动的调查研究,来探讨和研究杨家埠年画在改革开放以来的转型和流变问题,并调查记录杨家埠木版年画改革开放以来在图像谱系、工艺材料、产品形式、创作方式、张贴习俗、消费群体和销售方式上的流变情况。在研究方法上,本文采取参与观察、深度访谈与文献相结合的方式,对杨家埠地区进行区域性田野调查。通过访谈和文献资料了解历史背景和年画生产相关的具体情况,用参与观察的方式了解杨家埠年画创作和生产的现状。本文对杨家埠年画的考察和关照不只局限于传统木版年画,也包括在这一时期杨家埠出现的新年画和胶印年画。论文结构包括绪论、主体内容、结论和附录四部分。绪论简要介绍选题意义、学术界相关研究和杨家埠年画的历史发展状况,主体部分共分为四章:第一章,从地理位置、历史沿革、手工艺情况和相关民俗对杨家埠村落进行整体的介绍,还原年画生产地域的历史地理和民俗的基本情况。第二章,简短回顾建国后年画改革时期和文革时期杨家埠年画的历史,重点描述改革开放以后到1990年代以前杨家埠年画的恢复和发展过程。主要考察政府和年画研究所、年画社以及民间艺人在这一时期的各项行为,探讨杨家埠年画转型之初各方力量在其中起到的作用。第三章,从1990年到2007年是杨家埠年画转型流变的重要时期,从年画市场和消费群体的转换、生产者的对策和态度等几个方面展开,探讨杨家埠年画转型的过程和结果。第四章,重点考察在本世纪初非物质文化遗产保护活动展开后,转型的杨家埠年画在当下的创作和生产情况,分析和总结杨家埠年画在新环境下的创作方式和创新机制,并以此为根据对杨家埠年画的保护和发展提出建议。通过以上论述,本文初步探讨一下几个问题:一、改革开放后杨家埠年画转型流变的基本脉络是怎样的?二、杨家埠年画转型流变过程中生产者和创作者、消费者和政府各方力量在其中的作用是什么?三、杨家埠年画在图像谱系、工艺材料、创作方式等方面流变的具体情况如何?非物质文化遗产保护活动展开后,杨家埠木版年画的生存和发展状况是怎样的?
[Abstract]:This paper takes the Yangjiabu New year Pictures in Weifang, Shandong Province as the research object since the reform and opening up. The field investigation and research area are selected in Xiyang Jiabu Village, the origin area of Yangjiabu New year Pictures. Under the space of the Yangjiabu New year Picture, time is taken as the clue.Through the investigation and research on the concrete behaviors and activities of the creators, producers and consumers of New year's paintings and the government, the paper discusses and studies the transformation and evolution of Yangjiabu New year paintings since the reform and opening up.The changes in image pedigree, craft material, product form, creation method, posting custom, consumer group and sales mode since the reform and opening up of Yangjiabu woodblock New year painting were investigated and recorded.In terms of research methods, this paper carries out a regional field survey in Yangjiabu area by means of participatory observation, in-depth interview and literature.Through interviews and literature to understand the historical background and the production of New year's pictures related to the specific situation, with the way of observation to understand the Yangjiabu New year painting creation and production of the current situation.In this paper, the investigation and care of Yangjiabu New year's Pictures are not limited to the traditional wooden New year Pictures, but also include the new New year Pictures and offset New year Pictures which appeared in Yangjiabu in this period.The structure of the thesis includes the introduction, the main content, the conclusion and the appendix four parts.The introduction briefly introduces the significance of the topic, the history of academic research and the history of Yang Jiabu's New year painting. The main part is divided into four chapters: the first chapter, from the geographical location, historical evolution,Handicraft and related folklore introduce the village of Yangjiabu as a whole, and restore the historical geography and the basic situation of folklore in the production area of New year's Pictures.The second chapter briefly reviews the history of Yangjiabu's New year's Pictures in the period of New year's Picture Reform after the founding of the people's Republic of China and the Cultural Revolution period, and emphatically describes the restoration and development process of Yangjiabu's New year's Pictures from the reform and opening up to the 1990s.This paper mainly examines the behaviors of the government, the New year painting Institute, the New year painting Society and the folk artists in this period, and probes into the role played by various forces in the early stage of the transformation of Yang Jiabu's New year Pictures.The third chapter, from 1990 to 2007, is an important period of the transformation of Yangjiabu New year paintings, from the transformation of the market and consumer groups, the producer's strategies and attitudes, etc., to explore the process and results of the transformation of Yangjiabu New year paintings.The fourth chapter focuses on the creation and production of the Yangjiabu New year paintings in the new environment after the intangible cultural heritage protection activities began at the beginning of this century, and analyzes and summarizes the creative ways and innovative mechanisms of the Yangjiabu New year paintings in the new environment.And as a basis for the protection and development of Yangjiabu New year painting put forward suggestions.Through the above discussion, this paper preliminarily discusses a few questions: first, after the reform and opening up, the Yang Jiabu New year painting transformation rheology basic venation is how?Second, what are the roles of producers, creators, consumers and government forces in the transformation of Yangjiabu New year paintings?Third, Yangjiabu New year painting in the image pedigree, technology materials, creative methods and other aspects of the specific changes in the situation?After the intangible cultural heritage protection activities, Yang Jiabu woodcut New year painting survival and development is what?
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J218.3

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