1989年夏,初识杨家埠年画,觉得其色彩喧闹、线条古拙,很是赏心悦目。后来我在杨家埠进行了一次深入的考察,看到了大量的民间古版木刻。虽然它已经历了几十年甚至数百年,却仍旧散发着深厚浓郁的艺术魅力,令人观后不能平静。山东潍坊杨家埠木版年画起源平明朝,兴盛于清代,民国年间日趋蓑落。早期的杨家埠木版年画的体裁局限在门神、灶王、财神之类,但其造型绝不同于当时文人画所推崇的人物画规则,是亲切、敦厚、平易近人的。这些木版年画在民间这块肥沃的土壤中刚刚萌芽,就开始倔犟地按照自己的生长方式壮大、蔓延。清朝,随着商品经济的发展和外来文化的进入,木版年画进入了其辉煌时期。由于当时全国民间版画的兴盛,以及交通的便利,加之受四川、江苏、天津等地年画的影响,杨家埠木版年画的内容变得广泛了。日常的生活情景、历史故事、传奇小说、神话、戏剧 In the summer of 1989, I first met Yang Jiabu’s New Year pictures and thought it was noisy and the lines were ancient and very pleasing. Later, I conducted an in-depth study in Yangjiabu and saw a large number of folk ancient woodcuts. Although it has been decades or even centuries, it still exudes a rich artistic charm, it is not calm after the concept. Shandong Weifang Yangjiabu woodcut New Year originated in the Ming Dynasty, flourished in the Qing Dynasty, the Republic of China increasingly fall. The early Yangjiabu woodcut New Year pictures of the genre confined to the door god, kitchen king, God of Wealth and the like, but its styling is different from the literati paintings respected figures of the rules, is cordial, honest, approachable. These woodblock New Year pictures have just sprouted in the fertile soil of the folk and began to grow and spread stubbornly according to their own growth mode. In the Qing Dynasty, with the development of commodity economy and the entry of foreign cultures, the woodblock New Year pictures entered its brilliant period. Owing to the prosperity of the national folk engraving at the time and the convenience of transportation, as well as the influence of New Year paintings in Sichuan, Jiangsu and Tianjin, the content of Yangjiabu’s woodcut New Year paintings became extensive. Daily life scenarios, historical stories, legends, myths, plays