吕胜中剪纸艺术研究

发布时间：2018-04-20 22:01

本文选题：吕胜中 + 剪纸　；参考：《湖北美术学院》2017年硕士论文

【摘要】：吕胜中是现代著名的剪纸艺术家,也是研究中国传统民间艺术的专家,他把艺术创作的根深深扎入本土文化和民间美术,在西方艺术观念的冲击下保持清醒的头脑和独立判断,用传统民间艺术语言致力于当代思想观念的表达,20世纪80年代以来,他成为国内奋力开拓先锋前卫艺术的实验艺术家,同时在国际上也享有盛誉。吕胜中的剪纸艺术之路跨越了三个阶段。第一阶段自1984至1985年,吕胜中三度深入陕西农村采风,虚心向民间剪纸艺人求教,研究和整理中国传统民间文化。吕胜中那段时间剪了很多抓髻娃娃,采用农村大娘的剪纸造型语言,又体现自己对艺术造型的思考,可称为“民间原生态剪纸”;第二阶段是他回北京之后,创作了一些较大幅面的剪纸,运用民间剪纸的造型元素,又注入了现代意识和哲理思想,具有强烈的象征主义特点,开拓了现代剪纸的一种流派,可称为“新象征主义”剪纸;第三阶段是1988年以后,吕胜中以剪纸“小红人”为造型元素,转换艺术表达的方式,创作了很多实验性艺术作品,以现代观念艺术多元化的表现手法传达民间原生态艺术的主题:生与死、喜与悲、永恒与虚幻……吕胜中的艺术成就为实现观念艺术的本土化、中国艺术的国际化作出了巨大贡献。他立足于民间剪纸的艺术创作之路给予我们很多启发与思考。目前为止,国内外学者尚未对吕胜中的剪纸艺术作全面、深入的研究。国内的艺术评论和论文大都是就他的某次展览分析其艺术内涵,或者以他的部分作品为例,分析传统艺术向现代转化的途径;而他在陕北采风期间剪的很多抓髻娃娃,载于自著的《小红人的故事》,但是无人提及。国外学者们由于文化差异性太大,没有对吕胜中进行过专题研究,可说此方面尚属空白。纵观吕胜中几十年来的剪纸艺术过程,按其作品性质分为三个阶段,以揭示其剪纸艺术的审美价值和社会文化内涵,是本研究的创新之处。本文内容由五章组成。第一章绪论,第二、三、四章分别论述吕胜中剪纸艺术的三个阶段,每个阶段又从艺术探索的背景、创作观念与经历、主要作品及解读三个方面进行论述。第五章论述吕胜中的剪纸艺术过程给予我们的启发与思考:一方面,艺术的发展与创新要植根于民族传统文化的深厚土壤;另一方面,民族民间艺术在现代社会应寻求多元化的表达方式。
[Abstract]:Lu Shengzhong is a famous modern paper-cut artist and an expert in the study of Chinese traditional folk art. He has deeply rooted the roots of artistic creation into local culture and folk art, keeping a clear mind and independent judgment under the impact of western artistic concepts. Using traditional folk art language to express contemporary ideas, he has become an experimental artist who has strived to develop avant-garde art in China since the 1980s. At the same time, he also enjoys a high reputation in the world. Lu Shengzhong's paper-cut art has crossed three stages. In the first stage, from 1984 to 1985, Lu Shengzhong went deep into Shaanxi countryside three times, sought advice from folk paper-cut artists, studied and sorted out Chinese traditional folk culture. During that period, Lu Shengzhong cut a lot of bun dolls, adopted the paper-cut language of the rural aunt, and reflected his own thinking on artistic modeling, which can be called "folk pristine paper-cut." the second stage was after he returned to Beijing. Created some large format paper-cut, using folk paper-cut modeling elements, but also injected modern consciousness and philosophy, with strong symbolism characteristics, opened up a school of modern paper-cut, can be called "new symbolism" paper-cut; In the third stage, after 1988, Lu Shengzhong created a lot of experimental works of art using paper-cut "Little Red Man" as the modeling element and changing the way of artistic expression. It conveys the theme of folk original ecological art by means of modern concept art diversification: life and death, joy and sorrow, eternity and illusion. Lu Shengzhong's artistic achievements have made great contributions to the localization of conceptual art and the internationalization of Chinese art. He based on the folk paper-cut art creation road to give us a lot of inspiration and thinking. Up to now, scholars at home and abroad have not made a comprehensive and in-depth study on Lu Shengzhong's paper-cut art. Most of the art reviews and papers in China are based on the analysis of his artistic connotations at a certain exhibition, or take some of his works as an example to analyze the ways in which traditional art can be transformed into modern times; and many bun dolls he cut during the mining in northern Shaanxi Province. In the story of the Little Red Man by himself, but no one mentioned it. Foreign scholars have not carried out special research on Lu Shengzhong because of their cultural differences, which can be said to be blank. According to the nature of Lv Shengzhong's paper-cut art in recent decades, it can be divided into three stages to reveal the aesthetic value and social and cultural connotation of paper-cut art, which is the innovation of this study. This paper consists of five chapters. The first chapter is the introduction, the second, the third and the fourth chapters respectively discuss the three stages of Lv Shengzhong paper-cut art, each stage from the artistic exploration of the background, creative ideas and experience, the main works and interpretation of three aspects. The fifth chapter discusses the inspiration and thinking that Lu Shengzhong's paper-cut process gives us: on the one hand, the development and innovation of art should be rooted in the deep soil of national traditional culture; on the other hand, National folk art in modern society should seek pluralistic ways of expression.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J528.1

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