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中国传统型雕塑如何与公众现实生活在时代洪流中共进?从陕北民间彩妆泥塑创作60年,尤其是近三十年的发展与变迁中,可见出一些很有趣味的问题。1.时代缩影:榆林“万花”榆林“万花”是一个陕北匠艺丹青的著名世家。这一世家全面掌握和传承了明清以来陕北寺庙丹青匠作中形成的各种画、塑艺术的规格制度,各种神像的身形、面容、冠冕、服装、道具、动作及相关的神话故事。“万花”第五代传人万起运的作品在民国初年赴巴拿马参加国际大赛并获了奖;第六代传人万德雄在民国前期献艺青云山,并在陕、晋、蒙、甘等地区一举成名。上世纪50年代中期,在全国
How can traditional Chinese sculpture go together with the real life of the public in the torrent of the times? From the development and change of the folk make-up and clay sculpture in northern Shaanxi for 60 years, especially in the past 30 years, some interesting issues can be seen. 1. Epitome: Yulin “Wanhua ” Yulin “Wanhua ” is a famous family of Northern Shaanxi Carpenter Danqing. This family fully grasps and inherits the specifications of various paintings and plastic arts formed in the bronze smiths of northern Shaanxi since the Ming and Qing Dynasties. The figure, face, crown, clothing, props, movements and related myths of various idols story. In the early years of the Republic of China, he went to Panama to participate in the international competition and won the award; the sixth generation descendant Wan Dexiong performed Qingyun Mountain in the early period of the Republic of China, and in Shaanxi, Jin, Mongolia, Gan and other regions fame. The mid-1950s, in the country