江汉皮影戏中皮影人的制作工艺、美学特征及其传承
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摘要
江汉皮影戏是我国传统民间戏曲艺术的瑰宝,其皮影人文化具有很高的娱乐、审美、教化等艺术价值。但现代新媒体的冲击使其逐渐衰败没落,文章为促进江汉皮影戏中皮影人文化的传承发展,通过收集资料和实地考察,发现皮影人的制作工艺步骤繁琐、技艺精湛,皮影人的图案彰显了工巧性、色彩体现了民俗性、造型反映了灵动性。文章认为,相关部门和传承团队双方协作并通过内外措施相结合可有助于江汉皮影中皮影人文化的传承保护与发展创新。
Jianghan shadow play is the treasure of traditional folk opera art in China. The culture of its shadow figures have high artistic value of entertainment, aesthetics, education and so on. But it has gradually declined under the impact of modern new media.In order to promote the inheritance and development of shadow figures culture in Jianghanshadow play,this paper used the research method of on-the-spot investigation and found that the production process of shadow play is tedious and exquisite.It also summarized the pattern of the shadow figures show its artistry, the color reflects the folklore and the modellingreflects the agility.The article also held that the combination of internal and external measures by relevant government and the inheritance team would contribute to the inheritance,protection, development and innovation of Jianghan shadow figures culture.
Jianghan shadow play is the treasure of traditional folk opera art in China. The culture of its shadow figures have high artistic value of entertainment, aesthetics, education and so on. But it has gradually declined under the impact of modern new media.In order to promote the inheritance and development of shadow figures culture in Jianghanshadow play,this paper used the research method of on-the-spot investigation and found that the production process of shadow play is tedious and exquisite.It also summarized the pattern of the shadow figures show its artistry, the color reflects the folklore and the modellingreflects the agility.The article also held that the combination of internal and external measures by relevant government and the inheritance team would contribute to the inheritance,protection, development and innovation of Jianghan shadow figures culture.
引文
[1]沈珉.中国传统皮影[M].北京:人民美术出版社,2004.
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[3]孙建君.中国民间皮影[M].长沙:湖南美术出版社,2003.
[4]李妮妮.江汉皮影戏的保护与传承研究[D].武汉:华中师范大学,2015.
[5]耿鸿业.皮影戏的数字化应用与研究[D].重庆:重庆大学,2011.
[6]郑明钧.中国当代皮影戏保护之管窥[J].民族艺术研究,2006,(5):64-67.
[7]魏力群.中国民间皮影造型考略[J].河北师范大学学报:哲学社会科学版,1998,(3):120-125.
[8]严顺.中国民间皮影艺术人物造型分析[J].桂林电子科技大学学报,2005,25(4):21-24.
[9]郑明钧.中国当代皮影戏保护之管窥[J].民族艺术研究,2006,(5):64-67.
[10]薛海萍.浅谈皮影戏发展渊源与新途径传承[J].重庆科技学院学报:社会科学版,2008,(11):169-170.
[11]杨永波.论江汉平原皮影戏的传统艺术特征与现代创新[J].艺术与设计(理论),2011,(9):227-227.
[12]吴琼,林学伟.中国民间艺术中皮影的传承与未来[J].科学技术创新,2010,(31):229-229.
[13]贾涛,韦凯.浅析民间皮影造型艺术特点[J].美术大观,2007,(7):131.
[14]李颖卓,梅志辉.基于STM32单片机皮影戏机器人的设计与实现[J].信息技术与信息化,2015,(9):179-180.
[15]潘长学,周应斌.从皮影艺术到互动媒体设计[J].装饰,2003,(11):26-27.
[2]魏力群.中国皮影艺术史[M].北京:文物出版社,2007.
[3]孙建君.中国民间皮影[M].长沙:湖南美术出版社,2003.
[4]李妮妮.江汉皮影戏的保护与传承研究[D].武汉:华中师范大学,2015.
[5]耿鸿业.皮影戏的数字化应用与研究[D].重庆:重庆大学,2011.
[6]郑明钧.中国当代皮影戏保护之管窥[J].民族艺术研究,2006,(5):64-67.
[7]魏力群.中国民间皮影造型考略[J].河北师范大学学报:哲学社会科学版,1998,(3):120-125.
[8]严顺.中国民间皮影艺术人物造型分析[J].桂林电子科技大学学报,2005,25(4):21-24.
[9]郑明钧.中国当代皮影戏保护之管窥[J].民族艺术研究,2006,(5):64-67.
[10]薛海萍.浅谈皮影戏发展渊源与新途径传承[J].重庆科技学院学报:社会科学版,2008,(11):169-170.
[11]杨永波.论江汉平原皮影戏的传统艺术特征与现代创新[J].艺术与设计(理论),2011,(9):227-227.
[12]吴琼,林学伟.中国民间艺术中皮影的传承与未来[J].科学技术创新,2010,(31):229-229.
[13]贾涛,韦凯.浅析民间皮影造型艺术特点[J].美术大观,2007,(7):131.
[14]李颖卓,梅志辉.基于STM32单片机皮影戏机器人的设计与实现[J].信息技术与信息化,2015,(9):179-180.
[15]潘长学,周应斌.从皮影艺术到互动媒体设计[J].装饰,2003,(11):26-27.