武强新风俗年画图像分析及社会性研究

发布时间：2018-05-09 16:25

本文选题：武强年画 + 西洋文化　；参考：《河北师范大学》2017年硕士论文

【摘要】：年画是我国传统年节文化中重要的艺术形式,也是民间美术领域中的一个重要分支,随着中国社会习俗千百年来的发展与演变,早已成为了一种中国独有的关于年节文化的标志性符号。其中,风俗题材年画是年画艺术社会性的重要体现,是随着社会的发展与变迁,不同地区、不同时期的年节习俗的演变而产生的具有丰富内涵与多变的艺术形式。通过其淳朴而又真实的艺术语言,表达出的是世世代代农耕文明下平民百姓的审美取向。在全国众多具有地域性特征的年画产地中,武强年画因受到华北平原地区长久的农耕文明的浸透,而有着较为独特的艺术风格和文化指向,其风俗题材年画更是直接表现出了人们的日常生活中具有社会意义的内容,从而形成了一种具有公共性审美特征和渗有市井文化特色的艺术风貌。清末民初,中国社会各个阶层均发生着翻天覆地的变化。此时所有年画产地都经受着国内文化领域新思潮的变革以及外来西洋现代文化对本土艺术领域的冲击的双重影响,在这种情形下,武强年画透出了新的契机,出现了前所未有的具有现实主义精神倾向的新风俗年画,这表明农民的思想意识和审美观念发生了改变。晚清之前的武强年画一直以传达民间信仰和人们美好祝愿以及各类戏曲题材为作品内容,当中国的命运被改写之时,人们开始思索自身与国家危亡的关系,于是,反映社会现实、关注时事政治等题材的年画开始被创作出来。但通过对这些武强新风俗年画作品的分析后发现,无论是画面构图,还是人物造型方面,都具有一定的限制性,这种限制性则是农民对“洋”文化的追求,同时又与自身较低的文化水平相矛盾的结果。本文的研究重点在于在多种外在因素的共同影响下,武强风俗题材年画发生的新变化,并从这种变化中映射出中西方文化的冲突对人民大众的视觉审美的影响。
[Abstract]:New year painting is an important art form in the traditional Chinese New year culture and an important branch in the field of folk art. With the development and evolution of Chinese social customs for thousands of years, Has become a Chinese unique symbol of the festival culture. Among them, the custom theme New year painting is the important embodiment of the artistic sociality of the New year Pictures, is with the social development and the change, the different area, the different period New year custom evolves and produces has the rich connotation and the changeable artistic form. Through its simple and true artistic language, it expresses the aesthetic orientation of the common people under the agricultural civilization for generations. Among the many Chinese New year paintings with regional characteristics in the country, Wuqiang New year Pictures are permeated by the long farming civilization in North China Plain, and have a more unique artistic style and cultural direction. Its custom theme New year Pictures is a direct expression of people's daily life with social significance of the content, thus forming a public aesthetic characteristics and permeated with the characteristics of urban culture of art style. At the end of the Qing Dynasty and the beginning of the Republic of China, all social strata in China were undergoing earth-shaking changes. At this time, all the areas of New year's paintings were undergoing the transformation of new trends of thought in the field of domestic culture and the dual impact of foreign modern Western culture on the local art field. Under such circumstances, Wuqiang's New year paintings revealed a new opportunity. The appearance of unprecedented new custom paintings with realistic spiritual tendency indicates that the peasants' ideology and aesthetic concept have changed. The New year paintings of Wuqiang before the late Qing Dynasty were always designed to convey folk beliefs and people's best wishes, as well as all kinds of opera themes. When China's destiny was rewritten, people began to think about their own relationship with the crisis of the country, so, Reflecting social reality and paying attention to current affairs and politics, New year's pictures began to be created. However, through the analysis of these paintings of Wuqiang's new customs, it is found that both the picture composition and the character modeling are restricted, which is the peasants' pursuit of "foreign" culture. At the same time with their own low level of education contradictory results. The research focus of this paper is on the new changes of the New year Pictures of Wuqiang Custom subject subject under the common influence of many external factors, and reflects the influence of the conflict of Chinese and Western cultures on the visual aesthetics of the masses from this change.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J218.3

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