本文關(guān)鍵詞： 民間剪紙 造型符號 意象文化 當(dāng)代設(shè)計(jì)　出處：《南昌大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：中國的民間剪紙藝術(shù)有著深厚的文化內(nèi)含,是我國民間文化藝術(shù)的母體之一。在民間人們的衣食住行、禮儀、節(jié)日習(xí)俗、和信仰禁忌等社會生活中都能夠看到剪紙的足跡,所以說,剪紙?bào)w現(xiàn)了勞動人民生活中最樸實(shí)的藝術(shù)語言與藝術(shù)思想。綜合剪紙藝術(shù)的造型特征和創(chuàng)作心理,它的創(chuàng)作目的是實(shí)用與審美的完美結(jié)合,與當(dāng)代設(shè)計(jì)注重實(shí)用、注重審美需求的特征相吻合。同時(shí),剪紙藝術(shù)豐富的、多樣性的藝術(shù)形態(tài),是當(dāng)代設(shè)計(jì)取之不盡,用之不竭的寶藏,為我們探索中國當(dāng)代設(shè)計(jì)的本土化,提供了一個取之不盡的寶藏。 當(dāng)代設(shè)計(jì)的創(chuàng)新源于傳統(tǒng)與當(dāng)代、東方與西方人類文明的相互碰撞、相互交融、相互影響。無論從審美意識或從創(chuàng)作形式上來看,剪紙藝術(shù)與當(dāng)代設(shè)計(jì)都有著內(nèi)在的必然聯(lián)系。因而,當(dāng)代設(shè)計(jì)的創(chuàng)新需要從這種民族文化的本源中尋找啟示,從中尋找設(shè)計(jì)的藝術(shù)形式、語言符號和思維上的突破,并與國際通行的設(shè)計(jì)理念相接軌,進(jìn)而產(chǎn)生新的飛躍。 如何將歷史留給我們的這份非物質(zhì)文化遺產(chǎn)與當(dāng)代設(shè)計(jì)的理念結(jié)合,把傳統(tǒng)民族文化精神和時(shí)代精神結(jié)合起來,探尋設(shè)計(jì)創(chuàng)新的切入點(diǎn)；如何使當(dāng)代設(shè)計(jì)從剪紙藝術(shù)的造型和意象文化中得到啟迪,再發(fā)掘、再認(rèn)識剪紙作品中的元素語言,使其能夠“古為今用”,豐富當(dāng)代設(shè)計(jì)的語言符號和表述能力,是非常值得設(shè)計(jì)界認(rèn)真思考并付諸實(shí)踐的迫切的課題,亦是本文研究的主要內(nèi)容。 本文從剪紙藝術(shù)高度概括著手、試圖從高度簡潔的造型語言、構(gòu)圖方式以及豐富的題材、視覺思維方式、意象文化、審美性和創(chuàng)作思維等方面進(jìn)行分析研究,為剪紙藝術(shù)對當(dāng)代設(shè)計(jì)的啟示進(jìn)行較為系統(tǒng)的探索。并通過自己參與安徽銅陵“玉麟閣.大酒樓”設(shè)計(jì)案例的分析,使理論與實(shí)踐結(jié)合,推動設(shè)計(jì)藝術(shù)的創(chuàng)新。上述研究面對的是今日設(shè)計(jì)界中“國際化”視覺符號的泛濫與“本土化”視覺語言“失語”現(xiàn)象較為嚴(yán)重的設(shè)計(jì)文化背景,通過對傳統(tǒng)剪紙藝術(shù)的研究回歸民族本原文化的深處,探尋當(dāng)代設(shè)計(jì)的創(chuàng)新之意。
[Abstract]:Chinese folk paper-cut art has a profound cultural connotation, and is one of the mother of folk culture and art in China. It can be seen in the social life of folk people, such as clothing, shelter, etiquette, holiday customs, and taboo beliefs. Therefore, paper-cut embodies the most down-to-earth artistic language and artistic thought in the life of the working people. It synthesizes the modelling characteristics and creative psychology of paper-cut art. Its creative purpose is to combine the utility with the aesthetic, and to pay attention to the practical with the contemporary design. At the same time, the rich and diverse artistic form of paper-cut art is an inexhaustible treasure of contemporary design. Provides an inexhaustible treasure. The innovation of contemporary design originates from the collision, intercommunion and influence of traditional and contemporary, eastern and western human civilization, whether from aesthetic consciousness or form of creation. Therefore, the innovation of contemporary design needs to seek inspiration from the origin of this national culture, from which to find the breakthrough in the artistic form, language symbol and thinking of the design. And international common design concept in line with, and then produce a new leap. How to combine the intangible cultural heritage left by history with the concept of contemporary design, combine the traditional national culture spirit with the spirit of the times, and explore the breakthrough point of design innovation; How to make contemporary design get inspiration from paper-cut art modeling and image culture, and then explore and understand the element language in paper-cut works, so that it can "use the past for the present" and enrich the language symbols and expressive ability of contemporary design. It is an urgent subject for the design field to think and put into practice, and it is also the main content of this paper. This paper begins with the paper cutting art, and tries to analyze and research from the following aspects: the highly concise modeling language, the composition method, the rich subject matter, the visual thinking mode, the image culture, the esthetic character and the creative thinking, etc. In order to explore the enlightenment of paper-cut art to contemporary design systematically, and through participating in the analysis of the design case of "Yulin Pavilion. Big restaurant" in Tongling, Anhui Province, we can combine theory with practice. To promote the innovation of design art, the above research is faced with the background of design culture where the "internationalized" visual symbols and the phenomenon of "native" visual language "aphasia" are becoming more serious in the field of design today. Through the study of traditional paper-cut art to return to the depth of the original culture of the nation, to explore the innovative meaning of contemporary design.
【學(xué)位授予單位】：南昌大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J528.1

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 朱珂;;中國民間剪紙的藝術(shù)語言[J];科技信息;2009年02期

2 呂小滿;民間剪紙組合意象的解讀[J];民俗研究;2003年03期

3 周小儒,倪勇;談民間剪紙的"世俗意義"[J];南京工業(yè)大學(xué)學(xué)報(bào)(社會科學(xué)版);2004年04期

4 管祥麟;剪紙藝術(shù)大師庫淑蘭[J];民族論壇;2003年12期

5 張慨;生殖崇拜觀念在國人民俗文化中的影響[J];黔西南民族師專學(xué)報(bào);2001年03期

6 任世忠;;畢加索繪畫與中國民間美術(shù)之異曲同工——以中國民間木版畫、剪紙為例[J];山東大學(xué)學(xué)報(bào)(哲學(xué)社會科學(xué)版);2010年06期

7 濮軍一;喜花吉祥——世紀(jì)老人胡家芝的剪紙藝術(shù)[J];蘇州工藝美術(shù)職業(yè)技術(shù)學(xué)院學(xué)報(bào);2004年02期

8 徐賢如;凌繼堯;;中國民俗剪紙藝術(shù)文化功能內(nèi)涵變遷[J];西北民族大學(xué)學(xué)報(bào)(哲學(xué)社會科學(xué)版);2009年06期

9 王宏彥;;略論高密剪紙的裝飾藝術(shù)語言[J];藝術(shù)探索;2009年05期

10 劉蓉;;中國古代“人日”習(xí)俗考[J];延安大學(xué)學(xué)報(bào)(社會科學(xué)版);2006年06期

相關(guān)碩士學(xué)位論文 前4條

1 夏紅芳;山東威海剪紙藝術(shù)研究[D];山東大學(xué);2007年

2 閆靜莉;剪紙的造型語言與意象文化對當(dāng)代設(shè)計(jì)的啟示[D];內(nèi)蒙古師范大學(xué);2009年

3 高曉麗;民間剪紙中的圓形造型研究[D];河南大學(xué);2010年

4 張保玉;山東民間剪紙的構(gòu)成與造型特點(diǎn)探究[D];山東師范大學(xué);2009年

，

本文編號：1544933