浮世繪今日現(xiàn)狀對(duì)年畫(huà)發(fā)展的啟示

1、 碩士學(xué)位論文 碩士學(xué)位論文 題 目：浮世繪今日現(xiàn)狀對(duì)年畫(huà)發(fā)展的啟示 所 在 院 系：美術(shù)與設(shè)計(jì)學(xué)院 專(zhuān) 業(yè) 名 稱(chēng)：美術(shù)學(xué) 指 導(dǎo) 教 師：崔巍 研 究 生： 沙舟 完 成 時(shí) 間：2013 年 3 月 沈陽(yáng)師范大學(xué)研究生處制 類(lèi) 別 全日制研究生 教育碩士 同等學(xué)力 The enlightenments from Japanese Ukiyoe to the Chinese new year pic

2、ture Abstract In the resent decades, the art educators have noticed the folklore value and aesthetic value of the traditional Chinese new year picture. Some scholars reorganize the history of new year picture and made ma

3、ss of interviews in the countyside. Their appeal of protecting the primeval culture has received accepted by the government. However, it didn’t receive enough attention of the public. These appeals included history-res

4、earch, ancient board protection and the effort of museums, but seldom can you see solutions to the real problems. This paper is going to describe the dilemma of new year picture nowadays on the basis of mass materials. W

5、ith the methods of horizontal comparison and longitudinal study of literature and art, this paper is going to reproduce the process from prosperity to decline, and compare with the present situation of Ukiyoe, which is

6、still hot in the modern Japanese art forms. Through analysis of the causes of the current situation of new year pictures, this article will make bold suggestions on how to develop the New year picture nowadays. This arti

7、cle is divided into four chapters. The first chapter mainly combs the changing history of New year picture origins, describe the geographical features and aesthetic paradigm of the four new year picture origins. It also

8、contains a introduction of New year picture’s main function and the folklore value of the New year picture. The second chapter shows different Ukiyoe artists and their works, and then analysis the psychology of Japanese

9、according to these Ukiyoe pictures. The third chapter analyses the common part of the Ukiyoe and New year pictures in the field of public culture. Through the expounding of the theory of mass culture, we come to the con

10、clusion which the new year pictures has to face the project of how to survive and develop in the process of mass culture popularization. The fourth chapter lists the efforts of Chinese and Japanese artists on protecting

11、 the old and making innovations. It shows the shortcoming of the traditional concept of Chinese artists, and makes reasonable suggestions from two aspects: the national education and the art practitioner. The conclusi

12、on part summarizes the very popular culture which the new year pictures have to face today, and claims that we shall make dynamic protection as well as the static protection. Thus will make the traditional new year pictu