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作 者:郭丹丹 何建波 Guo Dandan;He Jianbo(College of Arts,Anhui University of Engineering,Wuhu,Anhui 241000)
出 处:《内蒙古艺术学院学报》2023年第2期43-50,共8页Journal of Inner Mongolia Arts University
基 金:国家社科基金艺术学项目“基于文化传承的中国传统年画艺术价值实验性研究”(项目编号:15BG051)的系列研究成果;省级科研基金项目“徽州木雕造型元素的当代转化与运用”(项目编号:SK2020A0234)阶段性研究成果;安徽工程大学宣城产业技术研究院重点项目(项目编号:A2018-01);安徽工程大学研究生创新创业项目(项目编号kz42022015)的系列研究成果。
摘 要:中国传统年画作为民间艺术的典型代表,汇集了很丰富的民俗寓意。每一幅生动的年画中,都蕴涵着广大民众被时代和地域所影响的审美观念和民俗信仰。今天,如何让这些传统的艺术形式在脱离其文化背景与时代印记的情况下,依然能被当下的人们所理解、铭记、传承,仅靠文献资料的采集与积累是远远不够的。发轫于传统的民间艺术形式要在当代被老百姓所接受,数字人文就是连接传统艺术形式与现代民众需求之间的桥梁。运用现代化的数字技术手段,构建行之有效的传统文化艺术的传承方式与传播途径,是本文所要探求的重点。数字资源对中国传统艺术而言,是提供了除阅读之外的更多元的表达方式,可更加直观、便捷地诠释传统艺术的深层寓意。本文即是基于数字人文这一视域语境,通过田野调查、数据分析,再结合知识图谱及跨学科融合等研究方法,对传统年画的民俗寓意进行分析与重构,探讨中国传统年画从物质产品到精神产品的嬗变轨迹。As a typical representative of folk art,Chinese traditional New Year pictures have a rich collection of folk connotations.The vivid New Year pictures contain the aesthetic concepts and ideological beliefs of the working people influenced by the times and regions.Up to now,how to make these art forms be understood,remembered and passed on without the cultural background and time imprint at that time is far from enough only by the collection and accumulation of literature.Folk art forms can only be accepted by the common people based on the contemporary background.Digital humanism is the bridge between the former art forms and the modern people's needs.Using modern digital means to build an effective way of inheritance and communication is the focus of this article.For Chinese traditional art,digital resources provide a more diversified way of expression besides reading to show the deep meaning of traditional art.Based on the context of digital humanity,this paper analyzes and reconstructs the folk customs meaning of traditional New Year pictures through field research,data analysis,knowledge atlas and interdisciplinary integration,and discusses the evolution of New Year pictures from material products to spiritual products.
关 键 词:传统年画 民俗寓意 数字人文:传播与发展
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