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在我国传统民间美术中,那些位列仙班的神祗人物往往会吸收古代民俗信仰、国人生存意愿、大众审美理念等多方面有益元素以呈现出鲜明独特的艺术形象,从而塑造和产生出独立于传统道释人物造型之外属于民间信仰中民众膜拜的“万应之神”。畅行数百年的“皖北三绝”中的天长天官画与灵璧钟馗画结合了民间木版年画、门神画等相关艺术类型的表现特征,如此在不同地域的民间绘画中赏析神祗的艺术表现,及其背后的民间俗信便会对当地民间愿景、民俗审美情感以及民间绘画艺术的理解与挖掘显得尤为重要。
In the traditional folk art of our country, those god deities who are in fairy class often absorb many useful elements of ancient folk beliefs, the will of Chinese people and the aesthetic ideas of the public to show distinct and unique artistic images so as to create and produce an independent In addition to the traditional Daoist character modeling belongs to the people worship in the folk beliefs “should be the god.” Chang Guan-tian’s paintings and Lingbi’s Zhong Kui paintings in “Wanbei Sanjue”, which runs for hundreds of years, combine with the performance characteristics of the related art types such as folk woodcut New Year paintings, Menzeng paintings and so on, thus appreciating the deities in the folk paintings of different regions The artistic expression and the folk custom letters behind it will be particularly important for the understanding and excavation of the local folk vision, folk aesthetic feeling and folk painting art.