中国剪纸的象征
摘要
中国剪纸艺术在中国流传数千年,积淀了浓郁的民族文化。剪纸艺人丰富的象征思维,赋予剪纸艺术完美的象征表达.正是这层神秘的象征外衣,使其深受中国百姓的推崇,并使其流传发展。从造型上来讲,其不注重三维空间的表现,更注重平面的装饰美感和象征的完美表达,对现代平面设计有积极的借鉴和推动作用。同时,由于剪纸艺术在民间发展流传,其作为一种民俗载体,承载了民风民俗的象征内涵,见证了民间象征文化的变迁,号称中国民俗文化的“活化石”,时至今天,探讨剪纸艺术的象征,研究民族文化的隐含,依然有其必要性。
The art of paper-cut has handed down from generation to generation in China and accumulated many characteristics of Chinese culture. The rich symbol thought from the paper-cut handicraftsmen entrusts the art with perfect symbol expression. It is because of the mystical symbolic coat that Chinese common people praise highly the art and the art has developed and handed down to us. From the angle of its modeling, the art of paper-cut does not pay great attention to the three-dimensional space, instead, it attaches importance to the esthetic sense of the plane space decoration and the perfect expression of symbolic culture, which can take positive effect on the modern plane design.
At the same time, as a kind of carrier of Chinese customs, the art of paper-cut has been known as“the living fossil”in the Chinese folk culture, owing to its wide spreading among the people, its bearing of symbolic connotations of common social practice and folk customs and its witness to the changes of the folk symbolic culture. Until today, it is still necessary for us to probe into the symbolic meanings of paper-cut and study the connotations of Chinese culture in it.
The art of paper-cut has handed down from generation to generation in China and accumulated many characteristics of Chinese culture. The rich symbol thought from the paper-cut handicraftsmen entrusts the art with perfect symbol expression. It is because of the mystical symbolic coat that Chinese common people praise highly the art and the art has developed and handed down to us. From the angle of its modeling, the art of paper-cut does not pay great attention to the three-dimensional space, instead, it attaches importance to the esthetic sense of the plane space decoration and the perfect expression of symbolic culture, which can take positive effect on the modern plane design.
At the same time, as a kind of carrier of Chinese customs, the art of paper-cut has been known as“the living fossil”in the Chinese folk culture, owing to its wide spreading among the people, its bearing of symbolic connotations of common social practice and folk customs and its witness to the changes of the folk symbolic culture. Until today, it is still necessary for us to probe into the symbolic meanings of paper-cut and study the connotations of Chinese culture in it.
引文
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[21]《中国传统名产》,中国科技出版社,1984 年版。
[22]《福建工艺美术》杂志。
[23]《中国民间工艺》杂志。
[2][美]苏珊 朗格,《艺术问题》,中国社会科学出版社,1983 版。
[3]《中国民间美术学导论》邓福星主编,唐家路、潘鲁生著,黑龙江美术出版社,2000 版。
[4]《民间美术概论》,杨学芹等编著,北京,北京工艺美术出版社,1990 年 8 月版。
[5]左汉中,《中国民间美术造型》,湖南,湖南美术出版社,1992 年版。
[6]《中国民间美术工艺学》,江苏,吕品田著,1992 版.江苏美术出版社.
[7]《民艺学论纲》,潘鲁生著,北京工艺美术出版社.1998 年 10 月版.
[8]张道一,《张道一文集》,合肥,安徽教育出版社,1999 年版。
[9]《中国造型艺术》,苏连第,李慧娟,天津,天津人民出版社,2001 年版。
[10]钟敬之,《民俗学概论》,上海,上海文艺出版社,1998 版。
[11]《湖北民间美术探源》,湖北群艺馆编,湖北美术出版社,1984 年版。
[12]《从动物的快感到人的美感》,刘骁纯,山东文艺出版社,1989 年版。
[13]《中国民俗剪纸图集》,潘鲁生著,北京工艺美术出版社.1992 年 9 月版
[14]《中国民间剪纸——介绍与欣赏》张道一编著,金陵书画社,1980 版。
[15]《辞海》(缩印本),上海,上海辞海出版社,1999 年版。
[16]《中国文化象征辞典》,爱伯哈德,序第 1—2 页,长沙,湖南文艺出版社,1990 年版。
[17]《中国工艺美术大辞典》,吴山主编,江苏美术出版社,1989 年版。
[18]《中国象征辞典》,刘锡成主编,天津,天津教育出版社,1991[17]《装饰》杂志,
[19]《民间美术》丛刊,江苏美术出版社。
[20]《民俗》画刊,中国民间文艺出版社。
[21]《中国传统名产》,中国科技出版社,1984 年版。
[22]《福建工艺美术》杂志。
[23]《中国民间工艺》杂志。