【作者】 王小明；

【导师】 冯骥才；

【作者基本信息】 天津大学 ， 建筑环境艺术， 2013， 博士

【摘要】 本文是就门画艺术形态与乡土语境的关系而言，为“中国民间文化遗产抢救工程”历时十年打捞的民间年画资料进行细致的民俗艺术形态的综合研究。主张对民间美术从民俗生活角度进行学术关怀，强调研究对象——门画艺术的图像造型、创作主体的意识能动性、民俗社会情景等因素。在这种视角下，民间美术的概念不再是单纯的艺术表现，而是立体的民俗艺术现象。它展现为活生生的“人”的活动，是存活在特定历史文化背景下，有特定民俗功能的艺术。因此，文章将民间美术置于语境中讨论，强调研究对象的时空背景。运用身体民俗学理论和社会学的常民方法论，从民俗的身体性与现实性出发，研究“人”和“民俗”本身的生活美术。因此，本文更多的是关注有人在场的，与“人”同为一体的生活艺术，而不是把民间美术从生活的整体中抽离出来，做孤立的形态结构上的研究。论文选择门画作为研究对象，是因为门画在年画中具有特殊的位置，它值得研究和开掘的空间在于门画与门的观念的密切联系；门神与家户的关系。首先，作为民俗艺术的门画和“民俗生活模式化”概念紧密相连。有些民间艺术尤其体现了民俗模式化的顽强生存表现，它在形象和内涵上不变的约束性较强。以门画艺术为例可以说明这样的问题。其次，民众对门画艺术有共同的乡土知识背景。一定的门画艺术符号，在一定的乡土生活中是结合民众的全部文化知识背景的，包括中国人对门神的信仰，对家庭的概念，对门户的观念，都有约定俗成的认知。文章试图抓住“门”和“画”，“神”和“吉祥”等观念，看出这类画种具有一定的知识背景的约束性和知识结构的稳定性，从而造成门画艺术样式的模式化特征。文章结论试图将民间美术的模式化特征进行理论升华，提出民间文化的自律性观点。自律性是结合民俗主体的能动性和民俗的生活化特点，以艺术表现为形态的民间文化特征。自律是一种自我约束和规范，它的动作发出者是民俗中的个人和群体，是在重复性的生活世界中，以自我规范的方式承袭传统的民俗认知。本文结合美学、知识社会学、艺术人类学等知识，有意识地以民俗学视角审视艺术学领域的问题，特别是对乡土艺术的研究进行意义层面的深度阐释。将门画置于民俗学的学术语境和理论背景中，试图揭示这类年画艺术传统的文化精髓和创作主体的情感世界。论文希望通过对门画艺术以民俗语境、民俗生活模式、民俗主体能动性的理论构建和探讨，提升对生活与艺术关系的经验性研究。更多还原

【Abstract】 Woodblock prints have a long history in China. They were produced in largenumbers from the invention of printing in the6thcentury AD, uninterruptedly to themiddle of the20thcentury. After1,500years, woodblock printing lost its position asthe only method of producing picture prints. China’s fast and radical modernization inthe past thirty years has brought a big shock to the ancient traditions. At the beginningof the twenty-first century, the China Folk Art and Literature Association launched alarge scale cultural preservation project. Woodblock prints were chosen as the firstfocus of the project’s preservation work. Under the lead of Feng Jicai, scholars andvolunteers were dispatched, and conducted research in local villages. Millions ofprints were collected during the time of this project.This paper examines the motifs of Chinese folk art and, based on the ChineseWoodblock Prints Collection, assesses the achievements of the China Folk Art andLiterature Association’s cultural preservation project. The article uses door prints asthe study object because they have the longest history and largest scale of productionamongst the various kinds of woodblock prints. The thesis comprises of an exordium,six chapters and a conclusion.Firstly, the exordium discusses the customs in people’s daily lives in China’sagricultural society. Secondly, it talks about the close relationship between thecreative ideas of folk art and the customs of daily life in agricultural society. Then itconsiders whether the autonomous actions of the people and artists of thesecommunities have had a big impact on the creation of folk art. Thirdly, there is afocus on how the idea of bringing luckiness and avoiding bad luck dominates thepatterns and designs of folk art. The thesis uses the images of door prints fromdifferent regions as examples to prove that recurring motifs are a highly significantcharacteristic of this kind of art.The first chapter, talks about the history and the historical development of doorpaintings. The article compares images of door guards on ancient tomb stones andbricks from the Han dynasty, with modern-day figures of door prints to find thesimilarities between the designs of the figures. The second chapter discusses how thebeliefs around door gods relate to the ideas people have about their families.Following on from the second chapter, the third chapter mainly talks about customssurrounding the display of door prints. The fourth chapter focuses on the variousfunctions of the figures of door god prints as idols, bringers of good fortune androle-models. The fifth chapter uses the shapes of the figures and the colors of theimages as examples to analyze and understand the aesthetic rules governing thedesign of door paintings. The sixth chapter discusses regional diversity in doorpaintings.In conclusion, the paper employs theoretical ideas and examples of door prints toprove that this style of folk art has central motifs that recur throughout history.Particular designs, patterns, colors and figures have developed as motifs since folk artstarted over two thousand years ago. This form of folk art has been adopted anddeveloped by the communities of Chinese agricultural society.更多还原