论民国初年桃花坞木版年画对沪上月份牌设计的影响  

Influences of Taohuawu Woodcut New Year Paintings in the Early Republic of China on Design of Shanghai Calendar

作　　者：冯媛媛 李轶南[1] FENG Yuanyuan;LI Yinan(Southeast University,Nanjing 211189,China)

机构地区：[1]东南大学,南京211189

出　　处：《工业工程设计》2020年第1期91-97,共7页INDUSTRIAL&ENGINEERING DESIGN

基　　金：国家社科基金艺术学一般项目(16BG121)。

摘　　要：通过分析比较民国初年月份牌设计对桃花坞木版年画的吸收与重构,探索月份牌设计在桃花坞木版年画基础上建构新的图像语言的方式,深入了解时代背景对传统民间艺术传承与发展的影响。运用文献研究、图像学、案例比较分析等方法,结合月份牌对桃花坞木版年画的传承与创新之处进行分析阐释。总结得出处于特殊政治、经济、文化背景下的月份牌脱胎于中国传统年画,具有本土化、商业化、多元化的特点,其针对苏州桃花坞木版年画的构图、题材、技法及营销手段等元素进行传承与革新,衍生出的新形式深受欢迎并迅速辐射全国,成为民国时期极具代表性的艺术符号之一,它的成功经验为实现中华传统艺术的当代传承与设计创新提供了启示与借鉴意义。Through analysis and comparison of the absorption and reconstruction of Taohuawu woodcut new year paintings by the calendar design in the early Republic of China,this article aims to explore the way to build a new image language based on Taohuawu woodcut new year pictures during calendar design,and deeply understand the influences of era background on inheritance and tradition of traditional folk art.Through literature research,image science,case comparison analysis and other methods,the inheritance and innovation of Taohuawu woodcut new year paintings were analyzed and explained in combination with the calendar.It is concluded that the calendar,which is in a special political,economic,and cultural background,is born from the traditional new year paintings.It has the characteristics of localization,commercialization and diversification.Carrying on inheritance and innovation,the new form derived is very popular and quickly radiates the whole country,becoming one of the most representative artistic symbols during the Republic of China era.Its successful experience provides inspiration and reference for realization for the contemporary inheritance and design innovation of Chinese traditional art.

关 键 词：桃花坞木版年画 月份牌 民国初年 沪上 

分 类 号：J511[艺术—艺术设计]