摘要
在政治运动与文化、经济运动的激荡中,农民画一直摆脱不了时代思潮的命名。要想辨析清楚农民画的艺术渊源与属性,必须祛除农民画名称的时代印记。农民画的艺术属性不受其创作主体的社会职业影响,也不因进入现代社会后便拥有"现代性"。农民画与年画同根同源,都是从民间绘画的基础上发展而成的民间艺术形式。因此,农民画与年画在色彩运用、构图造型、题材内容方面都十分一致,在特定的历史条件下,两者在艺术表现、题材、社会功能等等方面达到统一。
In the turbulence of political and cultural and economic movements, peasant paintings have been unable to get rid of the naming of the ideological trend of the times. In order to distinguish and analyze their artistic origin and attributes, we must remove the era mark of peasant paintings. Their artistic attributes are not influenced by the social profession of their creators, nor do they possess “modernity”after entering the modern society. Peasant paintings and New Year’s paintings share the same roots and are both folk art forms developed from the basis of folk paintings. Therefore, both of them are very consistent in the use of color, composition and modelling, and subject contents. Under specific historical conditions, they achieve high unity in artistic expression, subject, social function and so on.
作者
井长海
石歌
JING Chang-hai;SHI Ge(Shandong University,Jinan 250100,China;Weifang Culture House,Weifang 261000,China)
出处
《潍坊学院学报》
2019年第1期51-55,共5页
Journal of Weifang University
关键词
农民画
艺术属性
民间绘画
年画
peasant painting
artistic attribute
folk painting
New Year’s pictures
