文化人类学视域中的木版年画:兴起、变革与传承

NEW YEAR WOOD-BLOCK PAINTINGS FROM THE PERSPECTIVE OF CULTURAL ANTHROPOLOGY:RISE,CHANGE AND INHERITANCE

作为传统文化生活的映射,木版年画不是单纯的作为民俗艺术的存在,而是雕版技术、文化认同、造纸术等多种因素的“复合整体”,既有民俗文化自身发展的时代诉求因素,又有社会变革对意识形态推动的因素。木版年画一直到北宋中后期才开始凸起和普及并在市井阶层广为流行,这与雕版技术变革有着深刻联系。但这种技术转变的背后所折射的并不是简单的技术改进和变革,而是与里坊制度的崩溃、城市文明的兴起有关,这让木版年画的受众从城市引入乡村。作为一种人类文化的载体,木版年画的兴起与变革本质上反映的是民俗艺术在走向大众的过程中技术与制度的融合,其变革背后折射着种种世变因素,是我们窥探传统文化变迁以及人与社会关系不可或缺的社会图像。

As a reflection of traditional cultural life,New Year wood-block paintings are not simply the existence of folk art,but a"composite whole"of various factors such as engraving technology,cultural identity and papermaking,also there are ideologically driven elements of social change.It was not until the middle and late Northern Song Dynasty that the New Year wood-block paintings began to protrude and popularize and became popular among the market strata,which has a profound connection with the technological change of engraving.However,what is reflected behind this technological transformation is not simple technological improvement and change,but is related to the collapse of the LiFang system and the rise of urban civilization,which has brought the audience of woodblock New Year pictures from city to the countryside.As a carrier of human culture,the rise and transformation of the New Year wood-block paintings essentially reflects the integration of technology and system in the process of folk art becoming popular.Behind its changes,there are various world-changing factors,and it is an indispensable social image for us to explore the changes of traditional culture and the relationship between people and society.