潍坊杨家埠木版年画民间工艺的保护与开发
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摘要
杨家埠木版年画,是我国民间艺术宝库中的一朵奇葩,以浓郁的乡土气息和淳朴鲜明的艺术风格而驰名中外。杨家埠木版年画至今已拥有几百年的历史,几百年来,杨家埠农民积年累代,利用农闲从事木版年画的创作。他们在极其艰难的情况下,随俗而进,培育起这朵民间艺术的奇葩。具有鲜明的地方色彩和民族特色。与天津的杨柳青,苏州桃花坞的年画齐名,是中国民间三大年画之一。杨家埠木版年画善于利用寓意、象征、夸张、变形的手法表现主题,以古拙质朴的手法构成轮廓,再套印上红、绿;黄、紫两组对比色,形成鲜明、鲜艳、强烈具有装饰趣味的画面,反映了当时农民的思想愿望,风俗信仰。它充满福运财气,祝愿人们吉祥如意,鼓励人民向前进取,是为广大农民喜闻乐见,最富有群众基础的绘画形式。数百年来,杨家埠木版年画按照农民的思想要求、风俗信仰、审美观点、生活需要逐步发展完善,形成了自己古朴雅拙、简明鲜艳的风格。它植根于民间,装饰于节日,长期以来起着丰富人民精神生活,反映人民美好愿望,美化人民节日环境的作用。
长期以来,人们对杨家埠木版年画的历史及其艺术形式等方面都做了深入的研究,特别是近几年,随着非物质遗产文化保护概念的提出,这种民间艺术形式也越来越受到社会各界的关注,其保护与开发的呼声也越来越高。唯有对其色彩方面的研究内容还较少,真正从色彩方面入手研究杨家埠木版年画的理论著述也是少之甚少。文章主要从突出色彩艺术方面对杨家埠木版年画进行介绍和研究。重点从色彩理论角度看杨家埠木版年画的色彩艺术形式,以剖析这种艺术形式如此深入民心,为广大农民所喜闻乐见的原因。
全文分为三部分:
第一部分:导论。主要从杨家埠木版年画的概念定义及选题原因等方面作了相应的闸述,将杨家埠木版年画与潍县年画的概念区分开来。并且对前人的研究做了回顾与评价,申明了在色彩领域的研究空白,确切的说明了本文在杨家埠木版年画色彩研究方面的重要性。
第二部分分为四章,第一章主要介绍杨家埠木版年画的起源与发展,并重点针对各个时期的年画用色特点进行了详细的论述。第二章则主要介绍杨家埠木版年画的色彩特点,从用色种类,各种题材年画作品的色彩特点,色彩的心理影响力等方面做了阐述。特别介绍了传统杨家埠木版年画的颜料制作工艺。第三章针对杨家埠木版年画目前面临的问题提出了保护的意见。第四章主要从色彩的开发入手提出对杨家埠木版年画的开发意见。
第三部分:结论。主要综述了全文的基本论点,杨家埠木版年画其鲜明的色彩艺术无论对于以前还是将来,都会对艺术领域形成潜移默化的影响
抛开深层次的讨论,保护杨家埠民间木版年画艺术的当务之急无疑是争取更多公众的了解和喜爱,这将在根本上解决目前存在与杨家埠年画中的问题。
The Yangjiabu Wood Engraving Picture is a wonderful work in our folk arts treasury. It is worldly famous for its strong local flavor and its simple yet colorful style. The Yangjiabu Wood Engraving Picture has a long history of several handred years. For centuries, the farmers in Yangjiabu took the creation work of the wood engraving picture in their slack seasons. They have cultivated this folk art famous in very hard conditions. The Yangjiabu Wood Engraving Picture is characterized by a distinctive local style and national color. It is one of the three most famous folk Wood Engraving Picture in China, equally famous with Yangliuqing in Tianjin and Taohuawu in Suzhou. The Yangjiabu Wood Engraving Picture is skilled at highlighting its theme by morals, symbols, exaggeration and deformation, schetching out the pictures with simple and plain techniques, chromatographing two groups of comparative colors: red and green, yellow and purple, taking its shape of bright, colorful pictures with strong decrating delight, all which reflects the wishes and beliefs of farmers at that time. Implying the happiness, fortunes, and luck in making big money, wishing people good fortune as wishes, encouraging people to foge ahead, it is a a form of drawing loved and supported by large number of people. For centuries, the Yangjiabu Wood Engraving Picture, on the basis of the ideology, belief, aesthetic, and living demands of farmers, has gradually perfected and developed itself into the style of simple yet graceful, concise yet colorful. It is based on the folk arts, decorated for festivals, and has long enriched people's spiritual life, reflected their wishes, and embellished their festival environments.
For a long time, the researchers have gone deep into the history and the art forms of the Yangjiabu Wood Engraving Picture, especially in recent years, with the concept of the Intangible Cultural Heritage in China putting forward, this folk art form gains more and more concerns, and the protection and development also gain more importance. But we have less research on its colors, and less theoretical works on it. Therefore, this thesis mainly focuses on the research on the color art forms of the Yangjiabu Wood Engraving Picture. From the point of its color theories, this thesis analyzes the reasons of this art form being so popular and loved by so many people.
There are three parts in this thesis:
PartⅠ: introduction. This part, by illustrating the definition and topic selection of the Yangjiabu Wood Engraving Picture, separate it with the Wei County Engraving Picture. And by reviewing and evaluating the researches in the past, stating the deficiencies in color studies, this thesis mainly elaborates clearly the importance of the research in the Yangjiabu Wood Engraving Picture.
PartⅡconsists of four chapters. The fist chapter mainly discusses the origins and developments of the Yangjiabu Wood Engraving Picture, and detailedly discusses its color choosing features in different periods. Chapter two mainly discusses the color features of the Yangjiabu Wood Engraving Picture from the point of color choosing types, color features of all subjects in Engraving Pictures, and the psychological inflences of colors. This chapter especially explains the traditional pigment making art of the Yangjiabu Wood Engraving Picture. Based on the discussions on its current problems, the third chapter promotes suggestions on the protections of the Yangjiabu Wood Engraving Picture. On the basis of the discussions on the color development, chapter four raises suggestions on the development of the Yangjiabu Wood Engraving Picture.
PartⅢ: conclusion. This part mainly summarizes the basic issues in this thesis. The distinctive color art of the Yangjiabu Wood Engraving Picture influence the artistic field, whether the past or the future, imperceptibly.
The deep-rooted problems left aside, the most important thing for the protection of the Yangjiabu Wood Engraving Picture is undoubtedly to get it known and loved by the public, which will completely solve the problems now existed in the Yangjiabu Wood Engraving Pictures.
长期以来,人们对杨家埠木版年画的历史及其艺术形式等方面都做了深入的研究,特别是近几年,随着非物质遗产文化保护概念的提出,这种民间艺术形式也越来越受到社会各界的关注,其保护与开发的呼声也越来越高。唯有对其色彩方面的研究内容还较少,真正从色彩方面入手研究杨家埠木版年画的理论著述也是少之甚少。文章主要从突出色彩艺术方面对杨家埠木版年画进行介绍和研究。重点从色彩理论角度看杨家埠木版年画的色彩艺术形式,以剖析这种艺术形式如此深入民心,为广大农民所喜闻乐见的原因。
全文分为三部分:
第一部分:导论。主要从杨家埠木版年画的概念定义及选题原因等方面作了相应的闸述,将杨家埠木版年画与潍县年画的概念区分开来。并且对前人的研究做了回顾与评价,申明了在色彩领域的研究空白,确切的说明了本文在杨家埠木版年画色彩研究方面的重要性。
第二部分分为四章,第一章主要介绍杨家埠木版年画的起源与发展,并重点针对各个时期的年画用色特点进行了详细的论述。第二章则主要介绍杨家埠木版年画的色彩特点,从用色种类,各种题材年画作品的色彩特点,色彩的心理影响力等方面做了阐述。特别介绍了传统杨家埠木版年画的颜料制作工艺。第三章针对杨家埠木版年画目前面临的问题提出了保护的意见。第四章主要从色彩的开发入手提出对杨家埠木版年画的开发意见。
第三部分:结论。主要综述了全文的基本论点,杨家埠木版年画其鲜明的色彩艺术无论对于以前还是将来,都会对艺术领域形成潜移默化的影响
抛开深层次的讨论,保护杨家埠民间木版年画艺术的当务之急无疑是争取更多公众的了解和喜爱,这将在根本上解决目前存在与杨家埠年画中的问题。
The Yangjiabu Wood Engraving Picture is a wonderful work in our folk arts treasury. It is worldly famous for its strong local flavor and its simple yet colorful style. The Yangjiabu Wood Engraving Picture has a long history of several handred years. For centuries, the farmers in Yangjiabu took the creation work of the wood engraving picture in their slack seasons. They have cultivated this folk art famous in very hard conditions. The Yangjiabu Wood Engraving Picture is characterized by a distinctive local style and national color. It is one of the three most famous folk Wood Engraving Picture in China, equally famous with Yangliuqing in Tianjin and Taohuawu in Suzhou. The Yangjiabu Wood Engraving Picture is skilled at highlighting its theme by morals, symbols, exaggeration and deformation, schetching out the pictures with simple and plain techniques, chromatographing two groups of comparative colors: red and green, yellow and purple, taking its shape of bright, colorful pictures with strong decrating delight, all which reflects the wishes and beliefs of farmers at that time. Implying the happiness, fortunes, and luck in making big money, wishing people good fortune as wishes, encouraging people to foge ahead, it is a a form of drawing loved and supported by large number of people. For centuries, the Yangjiabu Wood Engraving Picture, on the basis of the ideology, belief, aesthetic, and living demands of farmers, has gradually perfected and developed itself into the style of simple yet graceful, concise yet colorful. It is based on the folk arts, decorated for festivals, and has long enriched people's spiritual life, reflected their wishes, and embellished their festival environments.
For a long time, the researchers have gone deep into the history and the art forms of the Yangjiabu Wood Engraving Picture, especially in recent years, with the concept of the Intangible Cultural Heritage in China putting forward, this folk art form gains more and more concerns, and the protection and development also gain more importance. But we have less research on its colors, and less theoretical works on it. Therefore, this thesis mainly focuses on the research on the color art forms of the Yangjiabu Wood Engraving Picture. From the point of its color theories, this thesis analyzes the reasons of this art form being so popular and loved by so many people.
There are three parts in this thesis:
PartⅠ: introduction. This part, by illustrating the definition and topic selection of the Yangjiabu Wood Engraving Picture, separate it with the Wei County Engraving Picture. And by reviewing and evaluating the researches in the past, stating the deficiencies in color studies, this thesis mainly elaborates clearly the importance of the research in the Yangjiabu Wood Engraving Picture.
PartⅡconsists of four chapters. The fist chapter mainly discusses the origins and developments of the Yangjiabu Wood Engraving Picture, and detailedly discusses its color choosing features in different periods. Chapter two mainly discusses the color features of the Yangjiabu Wood Engraving Picture from the point of color choosing types, color features of all subjects in Engraving Pictures, and the psychological inflences of colors. This chapter especially explains the traditional pigment making art of the Yangjiabu Wood Engraving Picture. Based on the discussions on its current problems, the third chapter promotes suggestions on the protections of the Yangjiabu Wood Engraving Picture. On the basis of the discussions on the color development, chapter four raises suggestions on the development of the Yangjiabu Wood Engraving Picture.
PartⅢ: conclusion. This part mainly summarizes the basic issues in this thesis. The distinctive color art of the Yangjiabu Wood Engraving Picture influence the artistic field, whether the past or the future, imperceptibly.
The deep-rooted problems left aside, the most important thing for the protection of the Yangjiabu Wood Engraving Picture is undoubtedly to get it known and loved by the public, which will completely solve the problems now existed in the Yangjiabu Wood Engraving Pictures.
引文
[1]“杨家埠木版年画”是一个独立的年画画种,“潍县年画”是一个整体,“杨家埠木版年画”是“潍县年画”的一个组成部分。也就是说“杨家埠木版年画”不等同于“潍县年画”。后文中还有说明。参见张殿英:《杨家埠木版年画》,人民美术出版社,1990年。
[2]《西游记》第十回《二将军宫门镇鬼唐太宗地府还魂》,吴承恩。
[3]参见《中国大百科全书·美术卷》,中国大百科全书出版社,1990年。
[1]参见王树村:《年画史》,上海文艺出版社,1997年。
[2][宋]孟元老:《东京梦中录》卷上。
[1]参见沈泓:《寻找失去的年画--杨家埠年画之旅》,中国画报出版社,2006年。
[1]张殿英:《杨家埠木版年画》,人民美术出版社,1990年,第13页。
[1]参见敬永金:《山东潍坊杨家埠木版年画与四川梓潼年画的渊源》。
[1]参见张殿英:《杨家埠木版年画》,人民美术了版社,1990年,第18页。
[1]参见宫崎清[日]刘洋:《杨家埠年画与四川梓潼县文昌文化》,中国文化报-美术广场,2002年2月28日.第4版。
[2]张殿英:《杨家埠木版年画》,人民美术出版社,1990年,第18页。
[1]参见孙立荣:《潍坊古典年画》,中国文联出版社,2005年,第31页。
[1]参见[德]弗·威·约·封·谢林著,魏庆征译:《艺术哲学》(上),中国社会出版社,1996年,第216页。
[2]引自孙立荣:《潍坊古典年画》,中国文联出版社,2005年,第62页。
[1]参见沈泓:《杨家埠木版年画之旅》,中国画报出版社,2006年,第50-51页。
[1]参见黄令声:《色彩画》,高等教育出版社,2006年,第五章。
1、《保护世界文化和自然遗产公约》,1972年。
2、《传统工艺美术保护条例》,1997年。
3、《国务院关于加强文化遗产保护的通知》,2006年。
1、《潍县志》,乾隆庚辰年(1760年)。
2、《梓潼县志》,咸丰八年修(1858年)。
3、[宋]孟元老:《东京梦华录》,中华书局,1962年。
4、《杨家埠村志》,齐鲁书社,1993年。
1、阿英著:《中国年画发展史略》,朝花美术出版社,1954年。
2、谢昌一编:《山东民间年画》,人民美术出版社,1979年。
3、山东省潍坊市寒亭区委员会文史资料研究委员会编:《文史资料选辑第六辑 杨家埠年画风筝专辑》,1989年。
4、张殿英:《杨家埠木版年画》,人民美术出版社,1990年。
5、王树村:《中国年画史》,北京工艺美术出版社,2002年。
6、孙立荣:《潍坊古典年画》,中国文联出版社,2005年。
7、沈泓:《杨家埠年画之旅》,中国画报出版社,2006年。
8、单继瑜:《守望精神家园》,文化艺术出版社,2007年。
1、王巨山:《手工艺类非物质文化遗产理论及博物馆化保护研究--以杨家埠木版年画制作工艺的考察为例》,山东大学历史文化学院博士论文,2007年。
2、褚兴彪:《杨家埠年画的信息传达探析》,上海商学院学报,2006年6月第七卷第二期。
1、陈通顺:《图案》,人民美术出版社,1983年。
2、黄令声:《色彩画》,高等教育出版社,1996年。
3、《康定斯基(文论与作品)》,中国社会科学出版社,2003年。
4、张小刚:《设计色彩写牛》,湖南大学出版社,2004年。
1、《艺术哲学(上、下)》,中国社会出版社,1996年。
2、田川流:《艺术美学》,泰山出版社,1998年。
3、吴山:《中国工艺美术大辞典》,江苏美术出版社,1999。
[2]《西游记》第十回《二将军宫门镇鬼唐太宗地府还魂》,吴承恩。
[3]参见《中国大百科全书·美术卷》,中国大百科全书出版社,1990年。
[1]参见王树村:《年画史》,上海文艺出版社,1997年。
[2][宋]孟元老:《东京梦中录》卷上。
[1]参见沈泓:《寻找失去的年画--杨家埠年画之旅》,中国画报出版社,2006年。
[1]张殿英:《杨家埠木版年画》,人民美术出版社,1990年,第13页。
[1]参见敬永金:《山东潍坊杨家埠木版年画与四川梓潼年画的渊源》。
[1]参见张殿英:《杨家埠木版年画》,人民美术了版社,1990年,第18页。
[1]参见宫崎清[日]刘洋:《杨家埠年画与四川梓潼县文昌文化》,中国文化报-美术广场,2002年2月28日.第4版。
[2]张殿英:《杨家埠木版年画》,人民美术出版社,1990年,第18页。
[1]参见孙立荣:《潍坊古典年画》,中国文联出版社,2005年,第31页。
[1]参见[德]弗·威·约·封·谢林著,魏庆征译:《艺术哲学》(上),中国社会出版社,1996年,第216页。
[2]引自孙立荣:《潍坊古典年画》,中国文联出版社,2005年,第62页。
[1]参见沈泓:《杨家埠木版年画之旅》,中国画报出版社,2006年,第50-51页。
[1]参见黄令声:《色彩画》,高等教育出版社,2006年,第五章。
1、《保护世界文化和自然遗产公约》,1972年。
2、《传统工艺美术保护条例》,1997年。
3、《国务院关于加强文化遗产保护的通知》,2006年。
1、《潍县志》,乾隆庚辰年(1760年)。
2、《梓潼县志》,咸丰八年修(1858年)。
3、[宋]孟元老:《东京梦华录》,中华书局,1962年。
4、《杨家埠村志》,齐鲁书社,1993年。
1、阿英著:《中国年画发展史略》,朝花美术出版社,1954年。
2、谢昌一编:《山东民间年画》,人民美术出版社,1979年。
3、山东省潍坊市寒亭区委员会文史资料研究委员会编:《文史资料选辑第六辑 杨家埠年画风筝专辑》,1989年。
4、张殿英:《杨家埠木版年画》,人民美术出版社,1990年。
5、王树村:《中国年画史》,北京工艺美术出版社,2002年。
6、孙立荣:《潍坊古典年画》,中国文联出版社,2005年。
7、沈泓:《杨家埠年画之旅》,中国画报出版社,2006年。
8、单继瑜:《守望精神家园》,文化艺术出版社,2007年。
1、王巨山:《手工艺类非物质文化遗产理论及博物馆化保护研究--以杨家埠木版年画制作工艺的考察为例》,山东大学历史文化学院博士论文,2007年。
2、褚兴彪:《杨家埠年画的信息传达探析》,上海商学院学报,2006年6月第七卷第二期。
1、陈通顺:《图案》,人民美术出版社,1983年。
2、黄令声:《色彩画》,高等教育出版社,1996年。
3、《康定斯基(文论与作品)》,中国社会科学出版社,2003年。
4、张小刚:《设计色彩写牛》,湖南大学出版社,2004年。
1、《艺术哲学(上、下)》,中国社会出版社,1996年。
2、田川流:《艺术美学》,泰山出版社,1998年。
3、吴山:《中国工艺美术大辞典》,江苏美术出版社,1999。