本文選題：呂勝中 + 剪紙��； 參考：《湖北美術(shù)學(xué)院》2017年碩士論文

【摘要】：呂勝中是現(xiàn)代著名的剪紙藝術(shù)家,也是研究中國(guó)傳統(tǒng)民間藝術(shù)的專家,他把藝術(shù)創(chuàng)作的根深深扎入本土文化和民間美術(shù),在西方藝術(shù)觀念的沖擊下保持清醒的頭腦和獨(dú)立判斷,用傳統(tǒng)民間藝術(shù)語(yǔ)言致力于當(dāng)代思想觀念的表達(dá),20世紀(jì)80年代以來,他成為國(guó)內(nèi)奮力開拓先鋒前衛(wèi)藝術(shù)的實(shí)驗(yàn)藝術(shù)家,同時(shí)在國(guó)際上也享有盛譽(yù)。呂勝中的剪紙藝術(shù)之路跨越了三個(gè)階段。第一階段自1984至1985年,呂勝中三度深入陜西農(nóng)村采風(fēng),虛心向民間剪紙藝人求教,研究和整理中國(guó)傳統(tǒng)民間文化。呂勝中那段時(shí)間剪了很多抓髻娃娃,采用農(nóng)村大娘的剪紙?jiān)煨驼Z(yǔ)言,又體現(xiàn)自己對(duì)藝術(shù)造型的思考,可稱為“民間原生態(tài)剪紙”;第二階段是他回北京之后,創(chuàng)作了一些較大幅面的剪紙,運(yùn)用民間剪紙的造型元素,又注入了現(xiàn)代意識(shí)和哲理思想,具有強(qiáng)烈的象征主義特點(diǎn),開拓了現(xiàn)代剪紙的一種流派,可稱為“新象征主義”剪紙;第三階段是1988年以后,呂勝中以剪紙“小紅人”為造型元素,轉(zhuǎn)換藝術(shù)表達(dá)的方式,創(chuàng)作了很多實(shí)驗(yàn)性藝術(shù)作品,以現(xiàn)代觀念藝術(shù)多元化的表現(xiàn)手法傳達(dá)民間原生態(tài)藝術(shù)的主題:生與死、喜與悲、永恒與虛幻……呂勝中的藝術(shù)成就為實(shí)現(xiàn)觀念藝術(shù)的本土化、中國(guó)藝術(shù)的國(guó)際化作出了巨大貢獻(xiàn)。他立足于民間剪紙的藝術(shù)創(chuàng)作之路給予我們很多啟發(fā)與思考。目前為止,國(guó)內(nèi)外學(xué)者尚未對(duì)呂勝中的剪紙藝術(shù)作全面、深入的研究。國(guó)內(nèi)的藝術(shù)評(píng)論和論文大都是就他的某次展覽分析其藝術(shù)內(nèi)涵,或者以他的部分作品為例,分析傳統(tǒng)藝術(shù)向現(xiàn)代轉(zhuǎn)化的途徑;而他在陜北采風(fēng)期間剪的很多抓髻娃娃,載于自著的《小紅人的故事》,但是無人提及。國(guó)外學(xué)者們由于文化差異性太大,沒有對(duì)呂勝中進(jìn)行過專題研究,可說此方面尚屬空白�？v觀呂勝中幾十年來的剪紙藝術(shù)過程,按其作品性質(zhì)分為三個(gè)階段,以揭示其剪紙藝術(shù)的審美價(jià)值和社會(huì)文化內(nèi)涵,是本研究的創(chuàng)新之處。本文內(nèi)容由五章組成。第一章緒論,第二、三、四章分別論述呂勝中剪紙藝術(shù)的三個(gè)階段,每個(gè)階段又從藝術(shù)探索的背景、創(chuàng)作觀念與經(jīng)歷、主要作品及解讀三個(gè)方面進(jìn)行論述。第五章論述呂勝中的剪紙藝術(shù)過程給予我們的啟發(fā)與思考:一方面,藝術(shù)的發(fā)展與創(chuàng)新要植根于民族傳統(tǒng)文化的深厚土壤;另一方面,民族民間藝術(shù)在現(xiàn)代社會(huì)應(yīng)尋求多元化的表達(dá)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.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J528.1

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