王依虹

過完了農(nóng)歷新年，不少人表示，熱鬧是表象，內(nèi)里似乎還缺了點(diǎn)什么意蘊(yùn)——至少在城市里如此。于是，有人說，你的年味只差一紙年畫。細(xì)想想，也許有一定道理。

中國農(nóng)歷，本就是反映農(nóng)時(shí)之歷，如今農(nóng)業(yè)社會(huì)的方方面面早已漸行漸遠(yuǎn)，與之相適應(yīng)的根基在深刻變化，文化的內(nèi)容也自然在淡化。

以前過年，家家戶戶都更換年畫、春聯(lián)，現(xiàn)在張掛者已經(jīng)不多，有青少年甚至不知道年畫為何物。為展示年畫的獨(dú)特藝術(shù)和作用、價(jià)值，即對(duì)中國傳統(tǒng)節(jié)慶文化的積極傳承，農(nóng)歷丁酉新年（2017），紹興蘭亭書法博物館與杭州西湖博物館聯(lián)合舉辦了中國木板年畫精品展。

大都用于新年的年畫，起源于漢代，為中國民間藝術(shù)之一，是農(nóng)村老百姓喜聞樂見的藝術(shù)形式。

兩宋時(shí)期，汴京（今河南開封）和臨安（今浙江杭州）的歲末，年畫市場火熱，孟元老《東京夢(mèng)華錄》和周密《武林舊事》分別記載了當(dāng)時(shí)的景況。

中原的開封朱仙鎮(zhèn)年畫被視為中國年畫發(fā)展的“鼻祖”，內(nèi)容多反映中原傳統(tǒng)民俗文化，藝術(shù)上體現(xiàn)了京都文化與市井文化并存的較精細(xì)的主流風(fēng)格與粗獷甚至比較粗糙的傳統(tǒng)風(fēng)格。后者的鄉(xiāng)土味道影響了整個(gè)北方年畫。

天津楊柳青年畫是北方年畫的代表，崛起于明代，鼎盛于清代。楊柳青年畫題材廣泛，包括傳統(tǒng)的“仕女”“諸神”等，其中“娃娃”是“形象擔(dān)當(dāng)”；采用木版套印和手工彩繪結(jié)合的特色手法，刻工精美、繪制細(xì)膩、色彩絢麗?！皸盍嗲嗨飘嬛校壹依C女竟衣紅。丹青百幅千般景，都在新年壁上逢?！彼还茷橹袊戤嬛?。

在江南，以杭州為中心的年畫，融會(huì)了吳越文化的精秀細(xì)巧，直接傳播至蘇州、無錫等地區(qū)。明清時(shí)期，蘇州桃花塢一帶是江南年畫中心。它的一大特點(diǎn)是，以故事性內(nèi)容為主，出現(xiàn)了描繪景物和現(xiàn)實(shí)生活的作品。借鑒了明成化皇帝所創(chuàng)的《一團(tuán)和氣圖》的“一團(tuán)和氣”，是桃花塢年畫中最具特色的代表作之一，此外還有許多宏構(gòu)巨作的立幅。它與楊柳青年畫有明顯不同的風(fēng)格和技巧，人稱“南桃北楊”。

濰坊楊家埠年畫屬于北方年畫系列，興起于明代，晚清興極一時(shí)，當(dāng)時(shí)有“畫店百家，年畫千種，畫版數(shù)萬”之說。楊家埠年畫以農(nóng)村炕頭畫為代表，內(nèi)容豐富，“巧畫士農(nóng)工商，妙繪財(cái)神菩薩，盡收天下大事，兼圖里巷所聞，不分南北風(fēng)情，也畫古今逸事”，藝術(shù)上頗具特色：線條粗放，造型簡括，色彩強(qiáng)烈。

西南地區(qū)的綿竹年畫從宋代起流行，其品種以門神、門童形式最富有變化。它在制作上以畫工勾染為主，即只用墨線印出畫樣后，即以手工描繪，這與其他各地年畫都用色版套印完全不同。綿竹年畫還用捺印法，即在添補(bǔ)金色團(tuán)花時(shí)，將花樣刻成圖章型，捺印在畫面上。

農(nóng)歷新年是中國最盛大的節(jié)慶，從文化的角度看，年畫在中華文化圈的流播影響，最為廣泛、最為深遠(yuǎn)，遠(yuǎn)涉日本、朝鮮、越南、緬甸以及印度等國。除上述五大“中國民間木板年畫中心”外，陜西鳳翔、福建泉州、廣東佛山以及浙江、安徽、湖南、貴州均有年畫產(chǎn)地。這次在紹興蘭亭書法博物館舉辦的年畫展，集合了全國不同地域、不同風(fēng)格的年畫共一百幅，讓人們感受歷史曾經(jīng)有過的輝煌燦爛。

年畫作為人們過年的必備品，不僅是一種喜慶的五彩繽紛的點(diǎn)綴，而且體現(xiàn)了實(shí)用性——文化流通、道德教育、審美傳播、信仰承續(xù)的作用。

年畫從“形”到“意”價(jià)值不菲。首先，傳達(dá)了相當(dāng)?shù)膶徝狼槿?。年畫?gòu)圖飽滿，嚴(yán)密均勻，留白處少；圖像大都顯得夸張，滿足了喜慶效果；用色以紅、青、黃、白、黑五大“正色”為主，大膽厚重，對(duì)比強(qiáng)烈。這些都是人們對(duì)于美好事物的憧憬。

其次，具備有很大的教育價(jià)值。吉祥是中國人過年的永恒概念，歷史故事、戲曲故事、民間故事都是年畫常見的題材。年畫銷量大、受眾廣，這些故事能夠得以廣泛的傳播，從中學(xué)習(xí)道德觀念、歷史人文、風(fēng)俗人情等，起到普及和教育的作用。年畫用畫面講述，更為直接明了，讓人更容易接受。

再者，承載著一定的文獻(xiàn)資料意義。年畫內(nèi)容涉及歷史、宗教、神話、戲曲和自然地理、生活習(xí)俗等，具有準(zhǔn)確的地域性和時(shí)代性，記錄了各種人文信息：真實(shí)的心理寫照和情感向往，可以作歷史的參證。

傳統(tǒng)的年畫的制作包括手工繪制、雕版、套色水印。因歷史的原因，從上世紀(jì)三四十年代起，年畫市場已經(jīng)逐漸退化、甚至沒落，有著傳統(tǒng)技藝的匠人在慢慢消逝。現(xiàn)在，部分留存品體現(xiàn)著它的經(jīng)濟(jì)價(jià)值。作為最有地方特色，直接、生動(dòng)地反映民俗文化的藝術(shù)品，年畫可以作為禮品、藏品。

一個(gè)多月的展出時(shí)間，中國木板年畫精品展近日落下帷幕。我們?cè)诟袊@中國傳統(tǒng)民間文化流失的同時(shí)，希冀年畫在“沒落”中“重生”。紹興蘭亭書法博物館把年畫制作工具帶進(jìn)展覽中，讓參觀者親手制作，體驗(yàn)?zāi)戤嫷纳a(chǎn)過程；為小參觀者準(zhǔn)備了DIY填色，發(fā)揮自己的各種想象，用蠟筆、彩色筆為年畫配色；年畫拼圖讓參觀者們?cè)谕鏄分杏涀〔煌赜虻哪戤?。通過賞年畫、做年畫，重新體驗(yàn)?zāi)戤嫷膶徝狼槿?、教育價(jià)值、文獻(xiàn)資料意義，讓年畫“重生”。

近年，具有濃郁鄉(xiāng)土氣息與地方特色的各地年畫的制作技藝，先后被列入世界、國家、省、市非物質(zhì)文化遺產(chǎn)代表名錄。形式的保留，也就有了內(nèi)容和情感的存續(xù)。中國木板年畫精品展既是年畫藝術(shù)的一次集中大展示，又是對(duì)中國傳統(tǒng)民間文化的積極傳承，也為到來的農(nóng)歷丁酉年增加了“年味兒”。

New Year Pictures used to be a must for celebrating the Spring Festival， the traditional Chinese New Year according to the lunar calendar which has been in use for more than two thousand years. Nowadays some people wonder why the Spring Festival festivities are no longer as colorful as they were in the past， one possible answer could be： New Year pictures are no longer a universal sign of the festival across the country. They used to be. Nowadays， one can only find the best specimens of the New Year Painting in books， museums or exhibitions. Some youngsters even have no idea what New Year pictures are.

During the Spring Festival celebrations in 2017， a New Year Painting exhibition was jointly held in Orchid Pavilion， Shaoxing by West Lake Museum of Hangzhou and Shaoxing Orchid Pavilion Museum of Calligraphy.

New Year Painting is a folk art genre that originated in the Han Dynasty （202BC-220AD）. Its popularity lasted for about 2，000 years. Over the past centuries， the Chinese New Year Painting spread to Japan， Korea， Vietnam， Myanmar and India.

In history， China had five major producers of New Year pictures. The New Year pictures created in Zhuxianzhen， Henan Province are widely considered the prototype of the genre. They reflect the northern lifestyle. The New Year pictures made in Yangliuqing in Tianjin became influential in the Ming Dynasty （1368-1644） and reached a climax in the Qing （1644-1911）. They are considered the greatest. Hangzhou used to be a center of New Year Painting production in Jiangnan， the south of the Yangtze River Delta. The style featured elegance and sophistication. In the Southern Song Dynasty seated in Hangzhou， the New Year pictures flourished in Hangzhou. Folk artists in Wuxi and Suzhou picked up the style and improved it. In the Ming and the Qing， Suzhou in present-day Jiangsu Province was the center of making New Year paintings. These artworks were all branded as production of Taohuawu （Peach Blossom Valley）. The paintings largely tell stories and legends. If placed side by side， Yangliuqing and Taohuawu feature obviously different styles.

Yangjiabu in Weifang， Shandong thrived as a major production center of New Year paintings in the last decades of the Qing. History says that there were over 100 studios in town that printed more than 1，000 titles. Tens of thousands of woodblocks were used.

In Sichuan， a southwestern province， Mianzhu used to be a big producer of New Year pictures. The best known images are gate-guarding gods and door children. The pictures were all painted in black lines and then manually colored.

There were also other regional production centers across China， such as Shaanxi， Fujian， Guangdong， Zhejiang， Anhui， Hunan and Guizhou provinces.

One hundred exhibits presented different styles and techniques and a wide range of themes. They used to add a lot of cultural elements and sentiments to the celebration of the Spring Festival. These pictures are artistic presentations of morality， culture， aesthetics， faith， etc. Most pictures carry full images in bright five colors： red， blue， yellow， white and black. These pictures reproduce the representative scenes of legends and myths， folktales， opera plays. These pictures can be considered as mini lectures on history， culture， lifestyle， viewpoints， and morality.

The Chinese New Year pictures declined in the 20th century， as modern arts influenced peoples aesthetics. A small number of studios across the country still make some pictures. But in the general， the glory and dream of the New Year pictures are long gone. Some private collectors and museums still hold some best specimens of the once most popular folk art.

What made the exhibition in Shaoxing special was that visitors to the exhibition could try their hands at making a New Year picture. Children were encouraged to add colors to the uncolored pictures in the making.