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莆仙戏脸谱图案艺术特征探析

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莆仙戏脸谱是莆仙戏演员塑造形象的重要载体之一.文章以莆仙戏脸谱图案为研究对象,以田野调查和资料整合为出发点,分析莆仙戏脸谱图案的文字、动物、线条、器物纹理、纹理夸张化和行为具象化的勾画艺术特征,以及早期与现代的配色艺术特征,并以莆仙戏脸谱"张公"、戏神脸谱"田公元帅"为例,论证莆仙戏脸谱有受到莆仙民间所信仰的神灵形象的影响,民间信仰活动也为莆仙戏戏班的生存提供了广阔的空间.最后,概括总结了不同的脸谱艺术图案特征与图案折射出的源自生活的图案含义,进而以莆仙戏较为特色早期的"包拯"脸谱为例,比较分析莆仙戏"包拯"脸谱与其他剧种脸谱的差异性及成因.对莆仙戏脸谱图案的研究有助于推动莆仙戏脸谱文化和非遗莆仙戏的传承与保护.
Artistic Characteristics of Puxian Opera Facial Mask Patterns
Puxian opera facial mask is one of the important carriers for Puxian opera actors to shape their images,therefore,the present study takes Puxian opera facial mask pattern as the research object.Starting from the field investigation and the data inte-gration,the authors analyze the artistic features of Puxian opera facial mask patterns in terms of characters,animals,lines,texture of objects,exaggeration of texture and concretization of behavior,as well as the artistic features of early and modern color matching.Taking the facial masks of"Zhang Gong"and"Marshal Tanokimi"in Puxian opera as examples,the authors argue that the mask of Puxian opera is influenced by the images of gods believed by Puxian people,and folk belief activities also provide a broad space for the survival of Puxian opera troupe.Finally,the authors summarize different features of facial art patterns and the meaning of the patterns reflected from life,and then take the earlier"Bao Zheng"facial art of Puxian opera as an example,compare differences between the facial mask of"Bao Zheng"of Puxian opera and that of other dramas then analyze causes of the differences.The study of the facial pattern in Puxian opera is helpful to promote the inheritance and protection of the intangible cultural heritage—Puxian opera,as well as its facial mask culture.

Puxian OperaFacial Mask PatternArtistic Characteristics

谢杰玲、孙雪梅、吴伟东

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三明学院 艺术与设计学院, 福建 三明 365000

福建师范大学 美术学院, 福建 福州 350000

莆仙戏 脸谱图案 艺术特征

福建省教育厅中青年教师教育科研项目(2022)

JAS22150

2024

梧州学院学报
梧州学院

梧州学院学报

影响因子:0.291
ISSN:1673-8535
年,卷(期):2024.34(1)
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