摘要
高密年画起源于山东潍坊高密地区,是一种广泛流传于民间的绘画形式,其以独特的艺术风格生动再现了中国传统农耕社会的生产生活图景,是农业非物质文化遗产的典型代表和农耕文化的活态载体。本文基于农业非物质文化遗产保护与传承的研究视角,以中国农业博物馆藏高密年画的修复实践为例,深入分析馆藏高密年画的保护修复策略,着力探索高密年画修复技能提升的有效路径,以期为同类博物馆高密年画的保护修复工作提供有益借鉴。
Originating from the Gaomi area of Weifang,Shandong,Gaomi New Year paintings(高密年画)are a form of folk art widely circulated among the people.With their distinctive artistic style,they vividly depict the production and daily life of traditional agrarian society in China,serving as a typical representative of agricultural intangible cultural heritage(ICH)and a living carrier of farming culture.From the perspective of agricultural ICH preservation and inheritance,this paper takes the restoration practice of Gaomi New Year paintings in the collection of the China Agricultural Museum as a case study.It conducts an in-depth analysis of conservation and restoration strategies for museum-collected Gaomi New Year paintings and explores effective approaches to improving restoration techniques.The findings aim to provide valuable reference for the preservation and restoration of similar Gaomi New Year paintings in other museum collections.
作者
张宇
常璐
张超
午丹洋
Zhang Yu;Chang Lu;Zhang Chao;Wu Danyang(Department of Collections,China Agricultural Museum,Beijing 100026)
出处
《古今农业》
2025年第3期112-123,共12页
Ancient and Modern Agriculture
关键词
高密年画
农业非物质文化遗产
农耕文化
预防性保护
修复
Gaomi New Year paintings
Agricultural intangible cultural heritage
Farming culture
Preventive conservation
Restoration
作者简介
张宇(1989-),女,中国农业博物馆藏品部助理研究员,研究方向为藏品修复与研究、农业文化遗产研究;常璐(1990-),女,中国农业博物馆藏品部助理研究员,研究方向为藏品征集与研究、农耕文化研究;张超(1990-),男,中国农业博物馆藏品部助理研究员,研究方向为藏品利用与研究、农耕文化研究;午丹洋(1999-),女,中国农业博物馆藏品部研究实习员,研究方向为藏品修复与研究、农耕文化研究。
