本文分析了年画的题材选取与设计思维、画面构成与分解、色彩构成与文化意向之间的关系,分析了这些特性在土特产包装中运用的可能性,力图在传统年画与现代土特产包装之间建立一种构架关系。论述年画的装饰特性与文化内涵,进而分析土特产包装的特征以及元素需求,提出了寻找土特产包装设计与年画装饰的共通性的可能,从而寻找二者之间的构架关系,并达到提升土特产包装设计的可识别性与视觉传达的目的性。

This article analyzes the subject selection and design thinking ,the picture composition and decomposition,color composition and cultural intentions in New Year paintings, then the possibility in its use of specialty packaging of the civil laws of color matching and color of the culture, And then it conveys visual information on the folk art form of connotation and denotation, makes the search for native packaging design elements in common with New Year decorations, and this possibility is mainly reflected in the theme selection, the screen form and civil use of color and other aspects, so as to improve native packaging design and design of the identifiable purpose.

中华民族上千年的文化积淀造就了丰富多彩的文化遗产，近年来也颇为重视非物质文化遗产的保护工作。滩头年画是一种富有历史、文化、艺术价值的非物质文化遗产，受到经济发展的冲击和周边环境改变的影响，单一的民间自发保护中出现了传承人缺失、手工技艺失传等危机，目前迫切需要外界力量参与滩头年画的保护。本文以社会联动为视角，从滩头年画在保护和传承过程中存在的问题入手，阐述了以政府为主导建立标准化年画作坊、民间大众参与的形式进行保护的方法，并为推进保护工作提供了有益的建议。

Cultural accumulation of the Chinese nation for thousands of years has created a rich and colorful heritage. The protection work of intangible cultural heritage is also taken seriously recently. Tantou New Year Pictures is a type of intangible cultural heritage with cultural, historical, artistic value. Affected by economic growth and environmental change, single free protection among the people has appeared crisis such as shortage of inheritors, loss of traditional crafts. External forces are currently highly needed for the protection of Tantou New Years Pictures. This paper from the perspective of social interaction, centering on problems arising in the protection and inheritance, explains a mode of protection, which guided by government and public widely participated through establishing standardized paintings workshops, trying to provide meaningful recommendations to push the protection.

在新农村建设快速发展时期，作为川西平原新农村的代表，绵竹年画村呈现的景观色彩意象具有典型性。首先，立足于川西平原地区独特的自然和人文背景，分析年画村景观色彩意象的历史沿革；其次，基于色彩地理学理论通过田野调研，从环境景观色彩意象、植物景观色彩意象、建筑景观色彩意象、民俗景观色彩意象四个方面对年画村景观色彩意象现况进行系统探讨，揭示色彩属性与色彩意象之间的定向关联；最后，总结出年画村对川西平原新农村景观色彩规划的启示：色彩意象是重要的地域资产意识、景观色彩意象的构建方法、打造美丽乡村景观线路理念、参与式景观色彩规划思想，希望对新农村景观色彩规划的发展起到积极的推动作用。

With the development of new rural construction, the Mianzhu New Year Painting Village, as a representative of the new rural area in the western Sichuan Plain, presents a typical colorscape image. Firstly, based on the unique natural and humanism background, this study analyzes the historical evolution of rural colorscape image in New Year Painting Village. Secondly, through ifeld investigation and theoretical references of color geography, it systematically explores the current situation of colorscape image of New Year Painting Village from the perspective of environment, plants, architecture, and folklore, thus the directional associations between color properties and color images are revealed. Finally, it is pointed out that regional colorscape image is a very important asset to local area, and it also proposes the colorscape image construction methods, beautiful rural landscape line building concept and participatory rural colorscape planning idea. It’s expected that it w

家堂画是高密年画中耗时最多、尺幅最大的年画，本文通过分析家堂画中所展现的“一进”、“二进”和其所包括的庙埕、山门、天井、翼廊、拜廊、正殿和内殿七个部分，以及其具有的主题突出、二度空间平面勾画、成双成对、见缝插针、应有尽有、同时展现和拆墙掀瓦等特点，论述其体现的传统道德中的孝文化，吉祥文化，古槐移民的思乡情结，反清复明的反抗心理，同宗同源的始族崇拜，祖宗祭祀中的女性歧视和画中建筑的明清风格等文化信息。

The genealogies painting is a kind of New Year Painting which is the most time consuming and the biggest size among Gaomi New Year Paintings. The genealogies painting contains the first courtyard and the second courtyard and seven parts that are the square in front of the ancestral temple, the door, the patio, the wing gallery, the worship gallery, the main hall and the hall within. And this kind of picture contains some characteristics such as the outstanding theme, the plane outline of the two dimension- al, in pairs, making use of every bit of space, containing everything, showing in the meantime and dismantlling wall and lifting watts. Through analyzing the content and the characteristics of the New Year Painting, this paper explains the concentrated reflec- tion of filial piety culture and auspicious culture of the traditional moral contained in the painting, the homesick of the old scholartree immigrants, the antagonistic psychology of fighting against the Qing dynasty to rebuild

滕氏布糊画，是一种集剪纸、绘画、雕塑、唐卡、年画等民间工艺于一体的具有强烈满族本土文化特色的新的艺术形式，是滕腾先生继承、发展并创新了满族传统“补花”工艺后而命名的，具有自身特有的制作技法和产业流程。2013年，滕氏布糊画被列入河北省非物质文化遗产名录。根据滕氏布糊画的发展现状，滕氏布糊画传承与发展，首先要培养制作新人，解决制作人员青黄不接的现状，其次要多种渠道解决产业发展的资金问题，第三要利用多种途径加大宣传力度，使布糊艺术深入人心，第四要拓展产品种类，实现产品内容与呈现形态的创新。

“Tengshi buhuhua” is a kind of new art form integrating paper-cut, painting, sculpture, Tangka and New Year painting with intense native culture of Manchu. It is an inheritance, development and innovation of traditional Manchu art of “buhua(applique?)” and named by Mr.Tengteng, the creator. It has special techniques and industry process of its own. In 2013, “Tengshi buhuhua”is listed as an intangible cultural heritage in Hebei province. According to the developing situation of “Tengshi buhuhua”, inheritance and development of it requires the following measures: cultivating new technicians, preparing enough funds for industrial development, strength-ening publicity and expanding the variety of products in innovating the content and form.