【作者】 全仙英（Sunyoung Jun）；

【导师】 陈勤建；

【作者基本信息】 华东师范大学 ， 文艺民俗学， 2013， 博士

【摘要】 中国传统吉祥画是单独或综合运用各种象征手法的绘画类型,也是中国吉祥文化的重要组成部分。吉祥画展现着人们对现实生活中的祈愿和对理想世界的追求,在生活中陈陈相因,代代相传。中国传统吉祥画不仅丰富了本国文化,而且对韩国文化也产生了深厚的影响。众所周知,有史以来,韩国与中国有着密不可分的关系,对中国文化采取积极开放的态度。在中国画大量传入韩半岛的同时,中国吉祥画也逐渐在韩半岛生根开花。在慕华思想的影响下,表现人类共同心理追求——吉祥的吉祥画吸引了韩半岛历代王室以及上流阶层。随着生活水平的提高,憧憬精英阶层生活的普通百姓也同样能够在生活中接触或享受到中国吉祥画,由此两国拥有了共同的图像语言。中国吉祥画以由上流社会走向民间逐渐融入于韩半岛的民俗生活中,在韩国风俗习惯的土壤上,根据时代和观念的不同,不断变化而实现了中国吉祥画的本土化,并在此过程中试图创新,树立起了韩国独特的吉祥画传统。这样,两国吉祥画之间产生了“同源异流,同根异枝”的关系。虽然两国传统吉祥画具有丰富的审美价值和民俗信息,然而在现代社会的迅速发展中并没有受到人们的重视,甚至面临着失传的危机。其中的重要原因在于没有传承对吉祥画的“读画”诀窍。吉祥画是在漫长的历史长河中积淀的吉祥观念的象征表现,因此“读吉祥画”需要对吉祥画的外在形式、内在含义及其特定的文化时空进行全方位的解读。而停留在表层的“看画”是不能找出吉祥画形式的内在价值的。本文以散落于中国、韩国、日本、法国等各地的两国吉祥画为基础资料,发掘两国共享的传统吉祥画并进行立体性的分析和比较。其结果有利于提高中韩两国对传统吉祥画以及传统文化的正视和重视,也有益于为两国传统吉祥画的恢复和传承问题提供新的方向。更多还原

【Abstract】 Chinese traditional auspicious paintings is a painting type that utilizes the symb ol technique separately or comprehensively and also is an important part of Chinese auspicious culture. Auspicious Paintings represents the origin as to the real life of people and the pursuit for the ideal world and has been handed down from generati on to generation in people’s lives.Chinese traditional auspicious paintings has not only enriched its own culture, b ut also influenced Korean culture significantly. Korea has been maintaining a close tie with China as far back as history recalls, and it has also been very open to Chi nese culture. Chinese auspicious paintings was propagated during the common Chine se paintings had been flowing into the Korean peninsula. Chinese auspicious paintin gs, which symbolically depicted the pursuit of the common sentiment of mankind called "auspicious" under the influence of the idea of worship of Chinese civilizatio n, had captivated the royal family and the upper classes. With the improvement of living standards, the common folks yearning for the upper-class life had started enjo ying Chinese auspicious paintings gradually as following them. Accordingly, the two countries got to share a common indirect language. Chinese auspicious paintings, w hich was infused into the lives of Koreans through "superiors acting and inferiors i mitating" propagation aspect, has realized the localization of Chinese auspicious pain tings as constantly changing depending on the difference of times and ideas on the soil of Korean folk customs. In addition, it has established the Korea’s unique tradit ion of auspicious paintings through trying to recreate during this process. Thus, the relationship of "different branches of the same source" has been established between the auspicious paintings of the two countries.Although Chinese tradition auspicious paintings possesses rich aesthetic values a nd folk information, it has not received serious consideration and even is facing a c risis in practice with the rapid development of modern society. Among them, the m ost important cause is that the secret of appreciating the painting as to auspicious p aintings has not been conveyed. Auspicious paintings is a symbolic representation of auspicious concept accumulated during the long history. Therefore,"reading auspici ous paintings " requires an overall interpretation on the external format, internal me aning and specific cultural time and space of auspicious paintings. With an apprecia tion staying only on the surface, it would not be possible to find the intrinsic value s of auspicious paintings form.This paper is a new attempt to compare the auspicious paintings of China and Korea; thus, it aims to discover the Auspicious Paintings shared by the two countri es, analyze their internal and external differences and find the origin in the folk liv es of the two countries by securing sufficient data through collecting the auspicious paintings of the two countries scattered all over the world such as China, Korea, Ja pan, France, etc. The three-dimensional analysis on the auspicious paintings of the t wo countries helps identifying the external impacts of Chinese auspicious paintings and enhancing the values of Chinese culture, and also finding the origin of Korean auspicious paintings would provide the important data for correcting the misundersta nding for Korean auspicious paintings. Moreover, this study proposes a new perspec tive for the restoration of the auspicious paintings of the two countries, which have been already lost or are at risk of being lost, and the solution to the challenges of the development.This paper finds the traditional auspicious paintings shared by the two countries with the auspicious paintings of the two countries scattered all over the world suc h as China, Korea, Japan, France, etc. as the basic data and conducts the three-dim ensional analysis and comparison for this. The results would not only contribute to the correct understanding and new understanding of the traditional auspicious paintin gs and cultures of China and Korea, but also propose a new direction for the issue s of restoration and transmission of the traditional auspicious paintings of the two c ountries.更多还原