中国传统造型艺术中,自古以来流 淌着滑稽审美的血液。艺术的滑稽审美理论在不期然而然中形成后,便自始至终存在着。从仰韶出土的红陶“尴尬人像”的幽默感到战国青铜“虎形牺尊”的可笑造型,从汉代极度夸张而传神的杂剧陶人俑到宋代拟人化的“猫猴图”,从元代杂剧中的“副净”、京剧中的丑角到齐白石笔下稚趣可爱的动物形象,都表现出中华民族明显的滑稽审美心理。尤其在民间美术中,滑稽审美始终表现为一条清晰而连贯的脉络。 In traditional Chinese plastic arts, funny and aesthetical blood flows from ancient times. The art of the aesthetic theory of funny in the unexpected formation, it will exist from beginning to end. From Yangshao’s terracotta unearthed pottery “awkward portrait” of the humor of the Warring States Bronze “tiger-shaped sacrifice” ridiculous style, from the Han Dynasty extremely exaggerated and vivid drama Taoist figurines to the anthropomorphic “monkey map”, from the Yuan Dynasty “Vice net” in the drama, Peking Opera’s clown to Qi Baishi’s naive and lovely animal image, all show the obvious funny aesthetic psychology of the Chinese nation. Especially in folk art, funny aesthetics always manifests itself as a clear and coherent vein.