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作 者:谢杰玲 孙雪梅[2] 吴伟东 Xie Jieling;Sun Xuemei;Wu Weidong(School of Art and Design,Sanming University,Sanming 365000,Fujian,China;Academy of Fine Arts,Fujian Normal University,Fuzhou 350000,Fujian,China)
机构地区:[1]三明学院艺术与设计学院,福建三明365000 [2]福建师范大学美术学院,福建福州350000
出 处:《梧州学院学报》2024年第1期28-36,共9页Journal of Wuzhou University
基 金:2022年度福建省教育厅中青年教师教育科研项目(JAS22150)。
摘 要:莆仙戏脸谱是莆仙戏演员塑造形象的重要载体之一。文章以莆仙戏脸谱图案为研究对象,以田野调查和资料整合为出发点,分析莆仙戏脸谱图案的文字、动物、线条、器物纹理、纹理夸张化和行为具象化的勾画艺术特征,以及早期与现代的配色艺术特征,并以莆仙戏脸谱“张公”、戏神脸谱“田公元帅”为例,论证莆仙戏脸谱有受到莆仙民间所信仰的神灵形象的影响,民间信仰活动也为莆仙戏戏班的生存提供了广阔的空间。最后,概括总结了不同的脸谱艺术图案特征与图案折射出的源自生活的图案含义,进而以莆仙戏较为特色早期的“包拯”脸谱为例,比较分析莆仙戏“包拯”脸谱与其他剧种脸谱的差异性及成因。对莆仙戏脸谱图案的研究有助于推动莆仙戏脸谱文化和非遗莆仙戏的传承与保护。Puxian opera facial mask is one of the important carriers for Puxian opera actors to shape their images,therefore,the present study takes Puxian opera facial mask pattern as the research object.Starting from the field investigation and the data integration,the authors analyze the artistic features of Puxian opera facial mask patterns in terms of characters,animals,lines,texture of objects,exaggeration of texture and concretization of behavior,as well as the artistic features of early and modern color matching.Taking the facial masks of“Zhang Gong”and“Marshal Tanokimi”in Puxian opera as examples,the authors argue that the mask of Puxian opera is influenced by the images of gods believed by Puxian people,and folk belief activities also provide a broad space for the survival of Puxian opera troupe.Finally,the authors summarize different features of facial art patterns and the meaning of the patterns reflected from life,and then take the earlier“Bao Zheng”facial art of Puxian opera as an example,compare differences between the facial mask of“Bao Zheng”of Puxian opera and that of other dramas then analyze causes of the differences.The study of the facial pattern in Puxian opera is helpful to promote the inheritance and protection of the intangible cultural heritage—Puxian opera,as well as its facial mask culture.
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