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"题名“栽花”提供“花鸟自然”的检索线索；具体叙事需结合画面核实。", "concept": "可从“自然意象与地方经验”角度展开阅读（题名辅助解读，非作者自述）。", "composition": "横幅布局，据数字图像宽高比归类；对称、散点、层叠等具体组织方式待逐幅核实。", "symbols": "题名包含：花。仅为题名线索，不等同于已确认的画面物象。" } }, { "id": "a1327", "path": "西南地区/云南省/腾冲农民画/陈永政《又是一年丰收年》 .jpg", "archive": "画作.zip", "file": "assets/a1327.jpg", "thumb": "assets/a1327-t.jpg", "width": 1080, "height": 738, "color": "靛蓝", "palette": [ "#903030", "#3060F0", "#906030", "#906090", "#906060" ], "region": "西南地区", "province": "云南省", "tradition": "腾冲农民画", "title": "又是一年丰收年", "author": "陈永政", "nameBasis": "原文件名", "authorBasis": "原文件名题名前署名", "theme": "农耕丰收", "composition": "横幅布局", "symbols": [], "gene": { "form": "农民画资料数字图像；原作媒材、尺寸与年代未完整记载，待核实。", "semantic": "题名“又是一年丰收年”提供“农耕丰收”的检索线索；具体叙事需结合画面核实。", "concept": "可从“劳动与收获”角度展开阅读（题名辅助解读，非作者自述）。", "composition": "横幅布局，据数字图像宽高比归类；对称、散点、层叠等具体组织方式待逐幅核实。", "symbols": "题名未提取到明确物象；画面符号待核实。" } }, { "id": "a1328", "path": "西南地区/云南省/腾冲农民画/陈永政《花鼓大戏唱党恩》.jpg", "archive": "画作.zip", "file": "assets/a1328.jpg", "thumb": "assets/a1328-t.jpg", "width": 1080, "height": 731, "color": "朱红", "palette": [ "#C03030", "#603060", "#906060", "#903030", "#603030" ], "region": "西南地区", "province": "云南省", "tradition": "腾冲农民画", "title": "花鼓大戏唱党恩", "author": "陈永政", "nameBasis": "原文件名", "authorBasis": "原文件名题名前署名", "theme": "节庆民俗", "composition": "横幅布局", "symbols": [ "花", "鼓" ], "gene": { "form": "农民画资料数字图像；原作媒材、尺寸与年代未完整记载，待核实。", "semantic": "题名“花鼓大戏唱党恩”提供“节庆民俗”的检索线索；具体叙事需结合画面核实。", "concept": "可从“民俗记忆与团聚”角度展开阅读（题名辅助解读，非作者自述）。", "composition": "横幅布局，据数字图像宽高比归类；对称、散点、层叠等具体组织方式待逐幅核实。", "symbols": "题名包含：花、鼓。仅为题名线索，不等同于已确认的画面物象。" } }, { "id": "a1329", "path": "西南地区/云南省/腾冲农民画/麻占亮《傈僳少女的遐想》.jpg", "archive": "画作.zip", "file": "assets/a1329.jpg", "thumb": "assets/a1329-t.jpg", "width": 1080, "height": 1371, "color": "素雅", "palette": [ "#303030", "#60C060", "#90C090", "#303060", "#90F090" ], "region": "西南地区", "province": "云南省", "tradition": "腾冲农民画", "title": "傈僳少女的遐想", "author": "麻占亮", "nameBasis": "原文件名", "authorBasis": 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"concept": "可从“劳动与收获”角度展开阅读（题名辅助解读，非作者自述）。", "composition": "图像尺寸暂未读取，具体构图待核实。", "symbols": "题名未提取到明确物象；画面符号待核实。" } }, { "id": "a2386", "path": "华东地区农民画资料收集/福建省/漳平农民画/朱秀春 《秋收》.webp", "archive": "华东地区农民画资料收集.zip", "file": "assets/a2386.webp", "thumb": "assets/a2386.webp", "width": 0, "height": 0, "color": "待核实", "palette": [], "region": "华东地区", "province": "福建省", "tradition": "漳平农民画", "title": "秋收", "author": "朱秀春", "nameBasis": "原文件名", "authorBasis": "原文件名题名前署名", "theme": "农耕丰收", "composition": "待核实", "symbols": [], "gene": { "form": "农民画资料数字图像；原作媒材、尺寸与年代未完整记载，待核实。", "semantic": "题名“秋收”提供“农耕丰收”的检索线索；具体叙事需结合画面核实。", "concept": "可从“劳动与收获”角度展开阅读（题名辅助解读，非作者自述）。", "composition": "图像尺寸暂未读取，具体构图待核实。", "symbols": "题名未提取到明确物象；画面符号待核实。" } }, { "id": "a2387", "path": "华东地区农民画资料收集/福建省/漳平农民画/李芬 《牛娃》.webp", "archive": "华东地区农民画资料收集.zip", "file": "assets/a2387.webp", "thumb": "assets/a2387.webp", "width": 0, "height": 0, "color": "待核实", "palette": [], "region": "华东地区", "province": "福建省", "tradition": 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宿州农民画：张晓玉《榴乡古井欢乐多》，依托石榴产业进行创作安徽省文化局\n发展现状\n青阳、凤阳为安徽两大农民画创作基地；青阳农民画从 1980 年代文化馆开班延续至今；凤阳农民画依托凤画非遗传承，把农民画和凤阳花鼓、红色文化（小岗村改革历史）紧密结合。\n创作内容分为两块：皖南青阳侧重田园农耕、皖南山水民俗；皖北凤阳重点表现乡村改革、脱贫攻坚、乡村振兴。\n短板：整体知名度低于江浙；市场化程度弱，作品主要用于地方展览、乡村墙绘；学术研究成果偏少；创作群体以中老年农民为主。\n五. 专著与期刊文献\n专著\n《凤阳凤画》，黄山书社 2020 出版，获安徽省地方志科研一等奖，系统梳理凤阳农民画凤画发展历史、代表作品与传承人体系。\n期刊文献\n胡晓燕。青阳农民画的艺术特征及当代传承路径［J］. 池州学院学报，2020；\n程晓婷。皖北民间美术视域下凤阳农民画创新转化研究［J］. 滁州职业技术学院学报，2023。\n", "title": "安徽省农民画基本信息", "author": "资料未载", "province": "安徽省", "type": "地区资料" }, { "id": "d001", "path": "华东地区农民画资料收集/安徽省/池州青阳农民画文献/产业化大趋势下青阳农民画发展新路径_潘珍珍.caj", "file": "library/d001.caj", "ext": ".caj", "text": "", "title": "产业化大趋势下青阳农民画发展新路径", "author": "潘珍珍", "province": "安徽省", "type": "研究论文" }, { "id": "d002", "path": "华东地区农民画资料收集/安徽省/池州青阳农民画文献/从青阳农民画看民间美术的生命力_程梅.caj", "file": "library/d002.caj", "ext": ".caj", "text": "", "title": "从青阳农民画看民间美术的生命力", "author": "程梅", "province": "安徽省", "type": "研究论文" }, { "id": "d003", "path": "华东地区农民画资料收集/安徽省/池州青阳农民画文献/安徽青阳农民画的艺术价值解析_韩延存.caj", 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"山东省农民画\n一. 日照农民画（1988 年首批国家级现代民间绘画之乡，和上海金山、陕西户县并称全国三大农民画乡）\n代表作：徐茂松《岚山瑰宝》；《赶海归来》《渔歌》《农家大院》；上百件作品被国家美术馆收藏、海外巡展。\n艺术风格：北方乡土厚重奔放，色彩浓烈饱和；胶东农耕、大海捕捞、民俗秧歌、渔家生活为创作主题。\n二. 胶南农民画（青岛西海岸新区（原胶南），国家级画乡，依托山东木版年画）\n代表作：刘晨《硕果满园》；杨丹《生活如歌》；纪伟伟作品登上合青岛峰会会场；入选第十三、十四届全国美展年画板块中国文艺网。\n\n刘晨《硕果满园》\n艺术特点：继承山东木版年画线条工整、构图严谨，色彩浓艳厚重；题材包括胶东农事、海洋经济、胶东红色文化。\n三. 山东其余地方农民画\n潍坊农民画、临沂沂水农民画：作品聚焦齐鲁农耕、民俗节庆题材。\n四. 发展现状\n胶南农民画脱胎于山东民间木版年画，是山东农民画的核心代表；形成老艺人守本源、中年画家引领、青年创作者创新的梯队；2018 年胶南年画入选文化部海外文化中心精品项目，作为山东文化名片对外交流。\n创作题材：传统胶东农事、渔民生活；当代作品聚焦乡村振兴、海洋经济、胶东红色文化；作品除参展之外，大量做成文创产品、城市公共壁画。\n问题：山东其余地市农民画发展薄弱，仅青岛胶南一枝独秀；学术研究集中于年画本体，农民画专项研究偏少；画家大多兼职创作，专职农民画从业者数量有限。\n五. 专著和期刊文献\n专著\n①《胶南农民画精品集》，青岛西海岸文旅局编，青岛出版社。\n期刊文献\n李慧。胶南农民画的年画基因及其当代转型［J］. 齐鲁艺苑，2020；\n王睿。新时代背景下胶东农民画的传承路径研究［J］. 山东工艺美术学院学报，2023。\n", "title": "山东省农民画基本信息", "author": "资料未载", "province": "山东省", "type": "地区资料" }, { "id": "d022", "path": "华东地区农民画资料收集/山东省/日照农民画文献/乡村振兴背景下日照农民画发展路径研究_李晓彤.caj", "file": "library/d022.caj", "ext": ".caj", "text": "", "title": "乡村振兴背景下日照农民画发展路径研究", 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"type": "研究论文" }, { "id": "d055", "path": "华东地区农民画资料收集/江苏省/江苏省农民画基本信息.docx", "file": "library/d055.docx", "ext": ".docx", "text": "江苏省农民画\n一. 邳州（邳县）农民画（徐州邳州，江苏省级非遗，国家级画乡）\n经典老作品：梁大娘《玉米大王》《大豆元帅》（1958 年，大跃进时期壁画代表作，《人民日报》专题报道）；梁传魁《飞机碰断玉米秆》（造型极度夸张浪漫，是新中国早期农民画标志性作品）；陈良成《富饶的母亲河》； \n当代精品：陈良成《传承》、王晶《幸福中国年》；徐建平《和谐之韵》、张士彩《非遗竹马庆盛世》（入选国博 2025 农民画大展）江苏文艺网。\n\n邳州农民画《传承》\n艺术特点：构图夸张大胆、线条粗放浓烈；50年代大跃进壁画起家，后期融入苏北农耕、民俗、竹马戏、乡村振兴题材。\n4. 现状：邳州农民画研究院常态化开展培训，作品大量应用于乡村墙绘、文创、国博展览，但青年画家稀缺，作品同质化问题突出。\n二. 淮安博里农民画（淮安区博里镇，国家级画乡）\n代表作品：潘宇《晨韵》（被联合国总部收藏）、《农民小世界》（入选全国首届农民画展，送往欧洲巡展）；《水乡集市》《荷乡丰收》。\n艺术特点：江南水乡风格，色调柔和写实，刻画水乡农事、淮扬民俗、渔家日常。\n现状：文化馆长期扶持；作品多次欧洲巡展；兼职画家居多，依靠政府展览为主，市场化偏弱。\n三. 如东农民画（南通如东县，国家级画乡）\n代表作：邬小伟《连年有鱼》；《海上迪斯科》《海子牛》《滩涂欢歌》。\n艺术特点：海洋农民画，几何造型，色彩厚重；聚焦黄海滩涂、耕海、赶海、渔民劳作。\n四. 江苏其余地方农民画（省级民间绘画基地）\n1. 南京冶山农民画（六合冶山街道）：作品《冶山春耕》《老圩新貌》，江淮田园题材；\n2. 建湖农民画（盐城建湖）：孙云花《醉美葚园》；里下河水乡风情，描绘水乡湿地民俗。\n整体发展现状\n邳州、博里、如东均获评 “中国现代民间绘画之乡”；邳州农民画 2016 列入江苏非遗；各地文化馆常态化开设农民画培训班，实行老画家带新人模式。\n创作题材转型：由传统农耕丰收拓展至非遗民俗、乡村振兴、水乡文旅、数字乡村；作品大量应用于乡村墙绘、文创产品、农产品包装、文旅 IP 开发。\n现存问题：专职画家收入偏低；年轻从业者较少；部分作品程式化严重，同质化明显；高端市场不足，多数作品停留在地方展览层面。\n六. 学术专著与期刊文献\n专著\n《邳州农民画作品集》，邳州市文旅局编，江苏凤凰美术出版社；\n《博里农民画艺术研究》（杨爱娟，海外硕士论文），研究博里农民画传承模式与艺术特征。\n期刊文献\n李伟铭。大跃进运动中的农民壁画 —— 以江苏邳县农民壁画为中心［J］. 美术学报，2009 (4)（CSSCI 来源期刊）；\n周冰.1950 年代邳县农民壁画运动述论［J］. 西南科技大学学报，2016 (1)；\n陈家燕。数字赋能水城农民画非遗文化活态传承路径探考［J］. 社会科学前沿，2024 (12)。\n", "title": "江苏省农民画基本信息", "author": "资料未载", "province": "江苏省", "type": "地区资料" }, { "id": "d056", "path": "华东地区农民画资料收集/江苏省/淮安博里农民画文献/AIGC驱动的非遗视觉特征重构方法研究——以淮安博里农民画为例_徐文杰.caj", "file": "library/d056.caj", "ext": ".caj", "text": "", "title": "AIGC驱动的非遗视觉特征重构方法研究——以淮安博里农民画为例", "author": "徐文杰", "province": "江苏省", "type": "研究论文" }, { "id": "d057", "path": "华东地区农民画资料收集/江苏省/淮安博里农民画文献/乡村振兴视域下淮安博里农民画发展路径研究_吴昕霓.caj", "file": "library/d057.caj", "ext": ".caj", "text": "", "title": "乡村振兴视域下淮安博里农民画发展路径研究", "author": "吴昕霓", "province": "江苏省", "type": "研究论文" }, { "id": "d058", "path": 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嘉兴秀洲农民画（嘉兴秀洲区，国家级画乡，全国农民画标杆）\n代表作：张觉民《南湖菱歌》（全国农民画展一等奖）；缪惠新《乡情》《老房子》（法国巴黎艺术城收藏）；汤阿银《三根黄瓜》被浙江美术馆收藏；\n当代作品：刘巧云《生态杨梅》、傅子义《家乡甘蔗最甜美》。\n\n浙江农民画《生态杨梅》\n\n傅子义作品\n艺术风格：吴越温婉雅致，色彩鲜亮柔和，散点透视；题材分为稻田农耕、蚕桑民俗、共同富裕、江南乡村新貌。\n现状：每年开设免费培训班，农村妇女是创作主力；中国美院长期合作；大量开发丝巾、茶具文创产品，国际交流频繁。\n二. 舟山渔民画（舟山定海、嵊泗，国家级画乡，海洋题材农民画）\n代表作：黄金良《乐生活》；朱松祥《大网头》；系列作品《耕海》《渔汛》《海岛人家》；萧山集体创作《舟溯八千载湖漾中国梦》（入选首届中国乡土绘画展江苏文艺网。）\n艺术特点：造型奇幻夸张、色彩浓郁深沉，画面带有抽象意味；以大海、渔船、海岛习俗、渔民生活为主。\n现状：浙江海洋大学做学术研究；文创产品丰富；短板是创作者老龄化严重，原生创作后劲不足。\n三. 浙江地方农民画创作基地\n1. 嘉善姚庄农民画：《稻田欢歌》；\n2. 义乌农民画：傅玲玲《乡集和韵》，浙中乡村集市题材\n3. 杭州农民画：周焕琴《明华村九曲湖》\n4. 衢州农民画：范小君《秋分》\n四. 发展现状\n秀洲区、舟山定海都是 “中国现代民间绘画之乡”；秀洲坚持每年常态化免费培训班，绣花妇女、农村妇女是创作主力；舟山渔民画由文化馆 1983 年开班起步，现在由浙江海洋大学开展学术研究支撑。\n创新发展：舟山渔民画重点做文创衍生品（丝巾、箱包、文具）；秀洲农民画积极参与国际艺术交流；中国美院、浙江海洋大学持续开展课题研究；近年题材加入海洋生态、亚运文化、共同富裕主题。\n现存困境：舟山渔民画创作早期依靠文化馆扶持，原生民间底蕴弱；多数作品局限旅游纪念品，市场溢价不足；年轻人流失，创作者老龄化突出。\n五. 学术专著与期刊文献\n专著\n《中国・舟山渔民画》，舟山市文化局编，海洋出版社，2003 年出版；\n张宇泓、黄小华《艺术乡建的原生创造力与实践》（以上海交大出版社 2023），以舟山渔民画作为核心案例研究农民画赋能乡村振兴。\n期刊文献\n田洪影。艺术人类学视角下舟山渔民画的发展历程与生成机制［J］. 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漳平农民漆画（龙岩漳平市，省级非遗，全国独有类型）\n代表作：吴玉环《喜办年货》；蒋玮华《游春》；陈民权《碧灵新韵》；集体创作《八闽欢歌》（入选全国乡土绘画大展）；曹观青《喜迎廉灯》《理发》都是漆画农民画精品\n艺术特色：把农民画和福建脱胎漆器工艺结合，突破传统纸质农民画；画面光泽厚重，题材融合土楼、惠安女、竹马戏等闽南客家元素。\n现状：漳平农民漆画院系统培育画家；高端漆画作品美术馆收藏；缺点是漆画制作周期漫长，年轻传承人稀缺。\n三. 福建沿海地方农民画\n晋江农民画、龙海农民画：以渔业、侨乡生活为创作素材\n莆田农民画：沈贵珍《做岁酒香透三巷》\n四. 发展现状\n漳平农民画最大创新：把传统农民画和福建脱胎漆器工艺结合形成农民漆画，区别全国其他地区农民画；漳平设立农民漆画院，系统化培养农民画家；厦门翔安成立农民画协会，开展校园普及教学。\n产业发展：漳平漆画农民画高端作品进入美术馆收藏，中小型作品开发茶具、摆件文创；同安农民画用于城市墙绘、文旅宣传；福建美协持续扶持农民画家参与全国性展览。\n现存问题：漆画制作工序繁琐，创作周期长；年轻传承人不足；市场两极分化：高端漆画价格高但受众窄，普通画作价格偏低。\n五. 专著和期刊文献\n专著\n邓文冰《同安（翔安）农民画》，鹭江出版社，闽南非遗丛书，系统梳理翔安农民画 60 余年发展史、画家、作品、时代特征。\n期刊文献\n林智伟。非遗视域下漳平农民漆画的艺术革新研究［J］. 福建艺术，2022；\n郑雅丹。闽南文化语境下同安农民画创作特征与当代转化［J］. 厦门理工学院学报，2024。\n", "title": "福建省农民画基本信息", "author": "资料未载", "province": "福建省", "type": "地区资料" } ], "notes": "作品名与作者依据文件名和目录整理，未做外部权威核验；色彩为图像采样，主题及解读为题名辅助归类。地区按来源目录记录，未改动资料的原始地理分组。近似图像与同名作品保留为独立资料条目。" }