本文選題：王樓 + 木版年畫��； 參考：《青島科技大學(xué)》2017年碩士論文

【摘要】：年畫藝術(shù)在漫長的成長過程中逐漸適應(yīng)了廣大人民群眾的生活及心理需求,形成了獨(dú)一無二的木版年畫形式。滕州王樓木版年畫作為中國木版年畫的一個(gè)重要組成部分,是散落在魯南地區(qū)的一朵奇葩,以濃郁的民風(fēng)民情彰顯出強(qiáng)烈的地緣文化觀念和鄉(xiāng)土意識,極大地豐富了當(dāng)?shù)孛癖姷奈幕�。滕州王樓木版年畫的表現(xiàn)技法融入了各種民間文化的藝術(shù)形式,在魯南這片沃土中逐漸發(fā)展并形成了自己的地域特色。對滕州王樓木版年畫地域特色的研究不僅豐富了中國木版年畫的藝術(shù)性,對年畫界有重要的學(xué)術(shù)意義,也有利于作為非物質(zhì)文化遺產(chǎn)項(xiàng)目的傳承保護(hù)有理論和技術(shù)上的指導(dǎo)意義。文章首先簡要介紹了年畫的起源發(fā)展及王樓木版年畫的發(fā)展歷程。其次對王樓木版年畫的生存環(huán)境展開闡述。述了滕州獨(dú)特的地理環(huán)境、人文環(huán)境及多種民間藝術(shù)因素對王樓木版年畫的產(chǎn)生、發(fā)展及地域特色的形成供的必要的物質(zhì)前和生存空間。為了進(jìn)一步研究分析王樓木版年畫的地域特色,作者分別把王樓木版年畫與東昌府木版年畫、高密撲灰年畫及濰縣楊家埠年畫在藝術(shù)語言、文化思想及教化功能方面進(jìn)行了比較分析,總結(jié)出王樓木版年畫莊重喜慶、粗獷古拙的藝術(shù)特色,鮮明的墨家文化思想和對人與人、人與社會(huì)及人與自然的和諧相處的教化功能,也是論文的重點(diǎn)章節(jié)。最后,筆者通過實(shí)地調(diào)研對王樓木版年畫的傳承現(xiàn)狀進(jìn)行了梳理。通過實(shí)地走訪王樓木版年畫傳承人,基本理清了年畫的傳承脈絡(luò)及發(fā)展現(xiàn)狀,真實(shí)的記錄了王樓木版年畫的傳承模式和制作工藝,全面系統(tǒng)的呈現(xiàn)出面臨危機(jī)的王樓木版年畫的本來面貌。進(jìn)一步對王樓木版年畫今后的發(fā)展方向作出了系統(tǒng)的分析和論述,力求以自己的認(rèn)識、見解和思維去推動(dòng)王樓木版年畫在當(dāng)今社會(huì)的存續(xù),為以后的研究和保護(hù)發(fā)展供一定的理論資料。
[Abstract]:The art of New year Pictures has gradually adapted to the life and psychological needs of the broad masses of people in the long growing process, and has formed a unique form of woodcut New year Pictures. As an important part of Chinese woodblock New year's Pictures, Tengzhou Wanglou New year Picture is a wonderful flower scattered in the southern part of Shandong Province. With its strong folk style and people's feelings, it shows a strong sense of geographical culture and local consciousness. The cultural life of the local people has been greatly enriched. The performance techniques of the wood-plate New year paintings of Tengzhou Wanglou have been integrated into various folk cultural art forms and gradually developed and formed their own regional characteristics in the fertile soil of southern Shandong. The study of the regional characteristics of the woodcut New year paintings in Tengzhou Wanglou not only enriches the artistry of Chinese woodblock New year paintings, but also has important academic significance for the field of New year Pictures. It is also beneficial to the inheritance and protection of intangible cultural heritage projects with theoretical and technical significance. The article first briefly introduces the origin and development of the New year Pictures and the development process of the Wanglou woodblock New year Pictures. Secondly, the survival environment of Wang Lou woodblock New year painting is expounded. This paper describes the unique geographical environment, humanistic environment and various folk art factors of Tengzhou for the production, development and formation of the regional characteristics of the necessary material and living space for Wanglou woodcut New year paintings. In order to further study and analyze the regional characteristics of Wanglou woodplate New year's Pictures, the authors put the Wanglou woodplate New year paintings, Dongchang Government woodplate New year paintings, Gaomi ash New year paintings and Weixian Yangjiabu New year paintings in the artistic language, respectively. Through the comparative analysis of the cultural thought and the function of enlightenment, the paper summarizes the solemn and festive features of the Wanglou woodblock New year painting, its rugged ancient artistic features, its distinctive Mohist cultural thought and its relationship with people. The enlightenment function of harmonious coexistence between man and society and man and nature is also the key chapter of the thesis. Finally, the author combs the inheritance status of Wang Lou wooden New year painting through field investigation. By visiting the inheritors of the Wanglou woodblock New year Pictures on the spot, we have basically clarified the inheritance context and the present development situation of the New year Pictures, and have truly recorded the inheritance mode and the production process of the Wanglou woodblock New year paintings. A comprehensive and systematic presentation of the crisis of the original appearance of the Wanglou wooden New year Pictures. Furthermore, it makes a systematic analysis and discussion on the future development direction of Wanglou woodblock New year painting, and tries to promote the survival of Wanglou woodplate New year painting in today's society with its own understanding, opinions and thinking. For the future research and protection of the development of certain theoretical data.
【學(xué)位授予單位】：青島科技大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J218.3

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