【作者】 柯钰；

【导师】 赵溅球；

【作者基本信息】 浙江师范大学 ， 美术学， 2008， 硕士

【摘要】 笔者撰写这篇论文,采用了历史文献研究法、比较研究法和民俗学田野作业相结合的方法。纵的查阅了海宁历代地方志及文人诗集,搜集整理了现有的关于海宁皮影戏的文字资料;横的将海宁皮影戏与国内其他地区的皮影戏进行比较,总结得出海宁皮影戏的艺术特点。皮影戏是一种活态的民间艺术样式。因此,笔者深入民间,通过与海宁现今仅存的两个皮影戏团的皮影戏老表演艺术家及皮影戏影人制作者的访谈,获得大量的口述资料。同时,笔者通过临摹皮影戏影人的实践,获得对海宁皮影戏艺术语言的直观认知。在此基础上,笔者将对海宁皮影戏的研究分为五大部分,分别加以论述,以期尽量做到详尽。第一部分是海宁皮影戏略史。这一部分的论述分为两节。第一节,笔者根据学界公认的顾颉刚先生的中国皮影戏“同源异流”说,探求海宁皮影戏的起源。第二节,笔者着力探求皮影戏艺术传入海宁的确切时间以及其传入时的艺术面貌,并试着探索其受海宁地方审美观念和海宁本土其他民间艺术的影响,逐渐演变成我们今天所看到的海宁皮影戏的过程。第二部分海宁皮影戏与海宁民间风俗的关系。海宁皮影戏之所以能够长期在海宁民间盛行,是因为其与海宁当地的民间风俗紧密联系。在这一部分,笔者将从民俗学的角度为读者展示海宁皮影戏丰富多彩的演出;第三部分海宁皮影戏的表演。这一部分,笔者从海宁皮影戏影人及道具的制作、皮影戏戏班成员的组成、皮影戏表演中的唱腔以及海宁皮影戏的剧目,全方位地介绍海宁皮影戏。第四部分海宁皮影戏独特的造型语言,是本论文论述的创新部分。按学界公认的魏力群先生在《中国皮影艺术史》一书中将我国皮影戏分为三大区域性流派的观点,海宁皮影戏属我国皮影戏中的中南部影系。在这一章,笔者将海宁皮影戏与我国其他两个皮影戏流派中作为代表的皮影戏进行比较,从美术的角度来研究、总结海宁皮影戏独特的艺术语言特点,并确定其在美术造型上的艺术价值。第五部分海宁皮影戏的保护。在这一部分笔者从海宁皮影戏的生存现状出发,结合海宁皮影戏艺人及各级政府对海宁皮影戏保护的具体措施,谈谈自己对于海宁皮影戏保护和发展的几点建议。我国学术界在上世纪30年代和80年代出现过研究皮影戏的小高潮,并有大量的论文发表。但都以研究皮影戏的历史源流及陕西、冀东等西北部地区的皮影戏为主,很少有人将海宁皮影戏作为研究对象;2006年,海宁皮影戏被列为我国首批非物质文化遗产抢救和保护项目,这株带有南宋遗韵及浓郁江南特色的奇葩才为学界所发现。从笔者所搜集到的几篇关于海宁皮影戏的论著来看,大多属介绍性文字,并没有对其进行深入系统地研究。而以海宁皮影戏为对象,从美术的角度对其进行探索研究的就更少了。在前辈学者研究成果的基础上,笔者拟对海宁皮影戏进行一次比较系统的梳理,并从民俗学、美术的新角度对海宁皮影戏进行剖析。希望能为以后从事海宁皮影戏研究的人们提供资料,同时也希望此论文能起到一个抛砖引玉的作用,引起广大皮影戏爱好者和研究者对海宁皮影戏进行更广泛、更深入的研究。小农经济的解体和工业商品经济的无情冲击,使得海宁皮影戏赖以生存的环境受到严重的影响,现今传统的海宁皮影戏已经走到了濒危的边缘。本文认为,随着全球将非物质文化遗产列入抢救保护的日程,我们应该把握这个机会,及时地对像海宁皮影戏这样濒临灭绝的优秀传统民间艺术进行总结,发现它们对于人类文化发展的宝贵价值及珍贵经验,及时抢救保护,使它们在现代化的今天重新吐露芬芳。更多还原

【Abstract】 I write this paper mainly using coalescent research methods of historical documents study, comparative study and Folklore Field Work. On the one hand, I looked up a large amount of Local Records and ancient poetry anthology. Searched the existing information on shadow play. On the other hand, I compared Haining shadow play with the ones from other regions in China’s mainland, concluded the following characteristics of Haining shadow play.Shadow play is a living folk art style. I deeply involved with civil, by interviewing the shadow play performances and producers, got a large number of oral information. At the same time, through hardcopy and practice of shadow play production, I have got intuitive understanding to the Haining shadow art language. Basis on this, I will divide the research into four major parts, and discuss them respectively, with a view to be detailed.The first part is the brief history of Haining shadow play. This part is subdivided into two sections. The first section, according to Gu Jiegang’s view, Chinese shadow play is "homogenesis with different development," which is recognized by academic group, I try to explore the origin. The second section, I focus on exploring the exact time of shadow play arts when it came to Haining and its visage. And I try to explore the influence from Haining esthetic idea and other native folk arts .and gradual evolution to the Haining shadow play which we see today.The second part, The relationship between shadow play and folk culture in Haining. The reason that the Haining shadow play can be in vogue for a long time in the Haining folk, is because it relates closely with the Haining locality’s folk custom. I will demonstrate the colorful Haining shadow play for the reader from the angle of ethnology.The third part, Shadow play show. In this section, I will show you the shadow play omnidirectionally by telling the compositions of the shade person, the stage prop manufacture and the shadow play troupe members, as well as the aria in the shadow play and the play list. The fourth part, Haining shadow play’s unique artile language, which is the focus of this paper. Recognized by the academia of Wei Liqun’s works "civil Shadow Play", which divides shadow play of china into three parts. I carry on crosswise comparing Haining shadow play with other native areas as representative’s shadow play. I Summarize the unique art language characteristic of Haining shadow play from the modeling aspect. Thus I get the inspiration that Haining shadow play modeling does on the contemporary traditional Chinese painting reform.The fifth part, the protection of Haining shadow play. Base on Haining shadow play’s present situation, and unify the effects that the Haining shadow play performances and the governments do for protecting Haining shadow play, the author give her own opinions.At present, The academic group has not conducted the systematic research to the Haining shadow play. Among the existing few writings about Haining shadow play, most of them are only introductory text, and merely discussing on its historical origins and performance characteristics of the description, and have not conducted in-depth Systematic study. Evenworse, the research to Haining shadow play from art is even less. Based on the senior scholars’research results, I intend to tidy up shadow play from the angle of folklore and art,to provide information for future study,also hoping to summed up some experience and lessons through these information with a view to arouse the broad masses’consideration to the protection and development of Shadow Play lovers and researchers shadow play.Finally, we believe that, with the non-material world heritage protection being on the agenda of rescue protection, we should seize this opportunity, and summerize Haining shadow play timely, summerize the past and we will face to the future maturely.更多还原