何家皮影戏班及其影人造型、图案纹样研究
发布时间：2018-12-11 14:44
【摘要】： 皮影戏起源于汉代，繁荣于明代，至今已有一千多年的历史。麦积区的民间皮影艺术出现于清代。在当地众多的皮影艺术表演中，，被人们称为“皮影世家”的何家皮影最具代表性。何家皮影戏班成立于道光三年（公元1821年），现任班主何世平老人（何家皮影的第四代传人）今年已是81岁高龄，他是麦积区道北办事处何家村地地道道的农民，虽然目不识丁，但雕刻、表演皮影的技艺则是一流的。从1957年至今，由他率领的何家皮影戏班多次在省市级曲艺调演中获得过奖项。2005年他本人又被省文化厅授予了“农村实用文化人才副高级”职称。尽管如此，这个戏班仍然是一个名不见经传的乡村小戏班，是承载当地皮影戏的最小单位。从改革开放至今的现代化生产，使得当地村民贫富差距拉大，不同年龄段村民的生活方式也发生了很大的转变。戏班在这种变化中不断的应对和挣扎也反映了非物质文化所面临的前所未有的尴尬。戏班的命运、非物质文化的传承与保护都是本文所探寻的问题。 另外，皮影戏虽然是发生、发展在民间的农民艺术，但它与民俗、信仰的关系确立了它在中国文化史上的地位。它与其它民间艺术一样，在形成之初就和巫术、宗教、民俗结合在一起。探寻它的精神发端和审美主体的审美心态是把握皮影艺术的关键。何家皮影戏班也不例外的受到了巫术、图腾文化的影响，在发展过程中又受到了本地区繁荣多样的地方文化的熏铸，在融入对世俗生活的关注后，最终形成了它独特的艺术样式和审美趣味。对其影人造型、图案纹样的研究，以及这些图案纹样的历史渊源、象征意蕴和隐藏其后的中国民间艺人的朴素的审美意识都是本文所思考的问题。
[Abstract]:Shadow play originated in the Han Dynasty, prosperity in the Ming Dynasty, has a history of more than 1000 years. The folk shadow art of Maiji district appeared in the Qing Dynasty. Among the numerous local shadow art performances, he family, known as the "shadow family", is the most representative. The Ho family shadow group was founded in Dao Kwong for three years (AD 1821). The current class owner, Mr Ho Sai-ping, is now 81 years old. He is a farmer in Ho Ka Tsuen, Road North Office, Maiji District. Although illiterate, but engraving, performance shadow is the first-class skills. From 1957 to now, he family shadow class led by him has won many awards in the provincial and municipal musical performance. In 2005, he was awarded the title of deputy senior level of rural practical cultural talent by the provincial cultural department. Nevertheless, the troupe is still a little-known village drama troupe, the smallest unit to carry local shadow plays. Since the reform and opening up to date, the modernization of production has widened the gap between the rich and the poor of local villagers, and the lifestyle of villagers of different ages has also undergone a great change. The constant response and struggle of the troupe in this change also reflects the unprecedented embarrassment faced by the immaterial culture. The fate of the opera troupe, the inheritance and protection of non-material culture are the problems this paper explores. In addition, although shadow play takes place and develops in folk peasant art, its relationship with folklore and belief establishes its position in the history of Chinese culture. It, like other folk art, was formed with witchcraft, religion, and folklore. Exploring its spiritual origin and aesthetic state of mind is the key to grasp shadow art. The Ho family shadow theater class was no exception influenced by witchcraft and totem culture. In the course of its development, it was cast by the prosperous and diverse local culture of the region, and after it was integrated into the attention of secular life, Finally, it formed its unique artistic style and aesthetic taste. The research on the movie-man modeling, the pattern, the historical origin of these patterns, the symbolic implication and the simple aesthetic consciousness of the Chinese folk entertainers behind them are all the problems considered in this paper.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J827
本文编号：2372734
[Abstract]:Shadow play originated in the Han Dynasty, prosperity in the Ming Dynasty, has a history of more than 1000 years. The folk shadow art of Maiji district appeared in the Qing Dynasty. Among the numerous local shadow art performances, he family, known as the "shadow family", is the most representative. The Ho family shadow group was founded in Dao Kwong for three years (AD 1821). The current class owner, Mr Ho Sai-ping, is now 81 years old. He is a farmer in Ho Ka Tsuen, Road North Office, Maiji District. Although illiterate, but engraving, performance shadow is the first-class skills. From 1957 to now, he family shadow class led by him has won many awards in the provincial and municipal musical performance. In 2005, he was awarded the title of deputy senior level of rural practical cultural talent by the provincial cultural department. Nevertheless, the troupe is still a little-known village drama troupe, the smallest unit to carry local shadow plays. Since the reform and opening up to date, the modernization of production has widened the gap between the rich and the poor of local villagers, and the lifestyle of villagers of different ages has also undergone a great change. The constant response and struggle of the troupe in this change also reflects the unprecedented embarrassment faced by the immaterial culture. The fate of the opera troupe, the inheritance and protection of non-material culture are the problems this paper explores. In addition, although shadow play takes place and develops in folk peasant art, its relationship with folklore and belief establishes its position in the history of Chinese culture. It, like other folk art, was formed with witchcraft, religion, and folklore. Exploring its spiritual origin and aesthetic state of mind is the key to grasp shadow art. The Ho family shadow theater class was no exception influenced by witchcraft and totem culture. In the course of its development, it was cast by the prosperous and diverse local culture of the region, and after it was integrated into the attention of secular life, Finally, it formed its unique artistic style and aesthetic taste. The research on the movie-man modeling, the pattern, the historical origin of these patterns, the symbolic implication and the simple aesthetic consciousness of the Chinese folk entertainers behind them are all the problems considered in this paper.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J827
【引证文献】
相关硕士学位论文 前1条
1 席海婷;黄土高原上的艺术奇葩[D];湖南师范大学;2011年
本文编号：2372734
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