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从年画看中国民间艺术的独特发展形态

     

摘要

When the traditional Chinese New Year palntings are put into the background of the development of Chinese art history, a change from separation to fusion can be seen between the development of the traditional Chinese New Year palntings and literati palntings:a clear split can be first seen in Tang and Song, and soon along with the development of society, a state of alienation has gradually been formed. The maln reason is that, in the long history, the artists of these two kinds of palntings are isolated and independent from each other. The development of the traditional Chinese New Year palntings can be seen as typically showing the way how the Chinese folk art develops through time, which indicates the history of Chinese folk art has long been overlooked in the studies of Chinese art history. When further compared with the development of Western art, we can see that the isolation of Chinese literati palntings and folk palntings have both positive and negative impacts on the development of Chinese art history.%当把中国年画的发展放进中国艺术史的大背景之中,发现年画与主流绘画的发展呈现出由融合到分离的过程,唐宋以后就开始了明显的分道扬镳,并很快随着社会的发展而形成了相互独立和长期疏离的态势。而造成这种相互独立而疏离状态的主要原因,是因为在长期的历史中,两者的创作队伍是相互独立而泾渭分明的。可以说,年画的发展历史集中而典型地表现了中国民间艺术一种独特的发展形态,折射出了中国民间艺术在中国艺术史中的薄弱地位。中国文人绘画与民间绘画的相互独立状态对中国艺术史的总体发展既产生了积极的影响,也在一定程度上限制了中国艺术变革的力度。

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