平阳木版画文化集丛探略  

Pingyang Woodcut Cultural Set Explorations

作　　者：孙海垠[1] 闫宏[2] 丁莎[1] 

机构地区：[1]北京联合大学广告学院,北京102200 [2]北京联合大学,北京100101

出　　处：《北京联合大学学报》2014年第1期70-75,共6页Journal of Beijing Union University

基　　金：北京市属高等学校创新团队建设与教师职业发展计划项目(ZDHT20130514)阶段成果;北京市属高等学校人才强教深化计划"中青年骨干人才培养计划"资助项目(PHR201108379);北京市教育委员会社科计划面上项目(SQSM201211417010)阶段成果

摘　　要：平阳木版画是一种民间年画性质的雕版画。在民族传统造型艺术方面,它是彩陶、青铜器、画像石、石刻线画、宗教壁画等民间艺术的反映和延续。平阳木版画文化集丛贮存了可贵的人文知识、创作情感和科学技能,它的兴盛与发展的本土性特点是以中国传统文化千余年来积累的"生活性"为基础和契机的,它蕴含着民族创造和审美最本原的精神营养。民间木版画是文化资源链接、交叉、重叠的研究课题,其艺术价值和相关学科的"文化集丛"对民间美术考古、文艺理论和在当代的美术创作及视觉传达设计,以及图像与影视的历史关系研究中都有交叉的再利用价值。The Pingyang woodcut is a kind of engravings with folk new year painting nature. In terms of the national traditional arts, it is the reflection and continuity of such folk arts as pottery, bronzes, portrait stone, engravings and religious frescoes. Pingyang woodcut culture sets are a value store of human knowledge, creative emotions and scientific skills. Its thriving and developing local characteristics are based on and get opportunities from the ＂life＂ that is accumulated by Chinese traditional culture through more than a thousand years. It contains the primitive spiritual nourishment of national creativity and aesthetics. Folk woodcut is a research subject of the links, intersections and overlapping of the cultural resources. Its artistic value and related disciplines＇ ＂cultural set＂ have overlapping reuse value to folk art archeology, literary theory, contemporary art creation, visual communication design as well as the research into the history of the relations between the image and the video.

关 键 词：民间美术 平阳木版画 文化集丛 

分 类 号：J217[艺术—美术]