中国年画

印刷工艺视野下的中国年画变迁

Changes of Chinese New Year Picture from the Perspective of Printing Techniques

从本雅明的艺术复制理论出发，对中国年画做出一番梳理和认知。究其本质，机械复制的出现与艺术世界的韵味消逝并不存在直接的因果牵连。

This article makes an approach to China 's New Year pictures in the perspective of Benjamin 's theory of art .

中国木版年画的意、形、色

Meaning , shape and color of woodcut picture of Chinese new year

中国木版年画的抢救与经验

Experiences of Rescuing Chinese New Year Prints

杨柳青年画在中国木版年画中一枝独秀，然而人们很难将其和新疆地区少数民族艺术联系起来。

New Year pictures in China Yangliuqing board to outshine others , but it is difficult to minorities and the Xinjiang region to link the arts .

第二章，分析了中国民间年画的民俗文化表现出的有意味的形式，即造型、色彩、构图上的表现及展现的视觉美感。

Chapter 3 , analyzes the folk culture of Chinese folk pictures showing the meaningful forms , namely modelling , color , composition of performance and displaying the visual aesthetic feeling .

中国传统年画这一古老的民间艺术，如今得到的关注非常之少，但这并不代表年画艺术已经没有了艺术生命力。

Chinese traditional New Year paintings of this ancient folk art , now get attention very little , but this does not mean that New Year paintings art has no artistic vitality .

第三章，是比较重要的一个章节，探讨两者若要实现共融，两者之间的可契合关系和将中国民间年画艺术融入现代招贴设计的意义。

The fourth chapter , it is a more important chapters , discuss the both to achieve harmony , if the interactive relationship between China and can be folk pictures art into the modern design significance .

最后从中国木版年画的发展状况，与滩头年画的实际情况相结合，笔者希望对滩头年画的保护和后续发展尽到绵薄之力。

Finally the wood engraving new-year paintings from China , combining with the development status of national policies and guidelines , and the actual situation of beaches pictures combine pictures , and hopes to protect fulfill beaches bit .

第四章，是重点章节，通过前文对民俗文化意味及表现形式的分析，探究了其融入的可行性和价值，这一章对现代招贴设计如何利用中国民间年画的方法进行探索研究。

Chapter 5 , is the key section of folk culture , through the above analysis of that and forms , explores the feasibility and value of its inclusion , this chapter goes to modern poster design how to use Chinese folk pictures are researched .

论中国民间木版年画的东方样式

On the Oriental Styles of Chinese Folk Wooden Board New Year 's Painting

中国传统门神年画是传统民间艺术的中的一个门类，是中国传统民俗文化艺术表现形式的重要代表。

Chinese traditional door-god panting is one of the categories of traditional folk arts , which is an important representative of Chinese traditional folk art forms .

对中国传统民间年画以及清末民初改良年画的分析研究，以期对中国文化遗产的相关研究课题能有所助益。

A study of the traditional New-Year Picture and the improved New-Year Picture in this period can provide useful information for the research of Chinese cultural heritage .

中国传统木版年画在制作上有着悠久的历史文化传统，广泛的遍布于全国各地。

Chinese traditional wood-engraving has a centuries-old historical and cultural tradition in regard to its way of creation , and it is spread all over the country .

中国传统木版年画是中国传统审美观念与民俗民风综合体现的载体，是中华民族艺术的瑰宝。

Chinese traditional wood-engraving is the carrier for the integrated embodiment of Chinese traditional aesthetic standards and customs , and it is also the rarity of Chinese ethical arts .

中国传统木版年画与西方写实的、再现的油画艺术相比，在造型观念上、艺术技巧等语言样式上都有着很大差别。

Chinese traditional " MUBAN NIAN HUA ", comparing with western realistic and recurrent art of oil painting , have great different distinction on the concept of mould-making skill of art and other form of language .

中国传统木版年画中的语言样式，处于一个整体理念之下，包括色彩样式、造型样式、构图样式和题材样式等几个方面。

The form of language of Chinese traditional " MUBAN NIANHUA ", which is in a integration , includes the format of mould-making 、 the format of picture-making and the format of topics and other aspects .

在众多的绘画传统中，中国传统木版年画由于它独有的平面性、装饰性和主观性的语言样式特征，使得它在丰富油画语言方面不失为一条可借鉴之路。

In the most tradition of painting , because of Chinese traditional " MUBAN NIAN HUA " unique form of language of flatness 、 ornament 、 subjectivity , made it a way to ask for reference in terms of the abundant oil painting language .

民间木版年画的造型美与色彩美本文旨在讨论这一珍贵世界文化遗产的文化背景、审美意象与视觉形式特征。中国民间木版年画这一独特的东方样式记录着丰富多彩的民俗百态与审美习惯。

Assessment of the Beauty in the Modelling and Colour Schemes of Chinese Folk Woodcut Paintings The paper is to discuss the origin , development , the cultural backdrop , the imago of taste and the features of visual form of this valuable and world cultural heritage .

杨柳青年画创始于明朝崇祯年间，是中国著名的传统年画。

Yangliuqing New Year 's pictures , which first appeared in the late Ming Dynasty , are popular throughout China .

而作为中国传统民间美术的一部分&中国传统木版年画，它来自于民间，土生土长。

As a part of traditional Chinese folk art & the traditional Chinese woodcut New Year pictures , comes from the people , born and raised there .