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不知是不是古老的东西都终归难以逃脱岁月的颠覆,也难以逃脱时代的筛选,使得原本牢固的地位也渐渐变得动摇易碎。在古城苏州的市井阡陌中,桃花坞年画正安静地感怀着曾经的盛世,现在的沉默和未来的不定。它有过辉煌。在所有关于年画的文献资料中,无一例外地充分肯定了年画的艺术价值,并称,苏州桃花坞是江南最大的民间年画生产中心。它与北方的天津杨柳青齐名,被誉之为“南桃北柳”,是中国传统民族工艺的奇葩。桃花坞年画在人们的宠爱中,在相当长的一段时期里,慢慢积淀了一个民族对于过年,对于民间艺术,对于中国民族文化的深厚情感。如果说千百年来形成了一套独具特色的年节文化,而年画则是这套年节文化中的一个重要符号,那么桃花坞年画无疑是个引人注目的感叹号。
I do not know whether it is not old things can not escape the subversion of the years, it is difficult to escape the screening of the era, making the original firm position has gradually become fragile. In the ancient city of Suzhou, the Taohuawu New Year pictures are quietly feeling the past flourishing, the current silence and the uncertainty of the future. It has been brilliant. In all the literature on New Year pictures, the artistic value of the New Year pictures was fully affirmed without exception, and it was stated that Taohuawu, Suzhou is the largest production center for folk pictures in the south of the Yangtze River. It is in the same name as Tianjin Yangliuqing in the north, and is known as the “Peach of Nanliu”, which is a wonderful work of traditional Chinese folk craftsmanship. Taohuawu New Year pictures are in the favor of people. For a long period of time, they have slowly accumulated a nation’s deep feelings for the Chinese New Year, folk art, and Chinese national culture. If we say that we have formed a unique New Year culture for thousands of years, and the New Year pictures are an important symbol in this New Year’s culture, then the Taohuawu New Year pictures are undoubtedly an eye-catching exclamation point.