本文選題：孝感 + 雕花剪紙�。� 參考：《華中師范大學》2012年碩士論文

【摘要】：孝感雕花剪紙是孝感古老的民間文化藝術,它有著悠久的歷史淵源和豐富的文化內涵,多以孝文化的歷史典故作為題材,通過特殊視角來詮釋孝俗風情。在其漫長曲折的發(fā)展過程中,薈萃了不同時期、不同地域的創(chuàng)作成就,融合了我國北方剪紙的粗獷蒼勁和南方雕刻的玲瓏剔透,在藝術風格上兼收并蓄,自成一體,形成了獨特的藝術風格。雕花剪紙在日常生活的應用十分廣泛,從手工藝繡花的樣品漸漸發(fā)展普及到人們日常生活的方方面面,包括室內裝飾、報刊題花、禮品裝飾、標志設計、廣告宣傳、影視媒體、插圖書簽等,具有非常濃厚的藝術性、觀賞性和裝飾性,為廣大群眾所喜聞樂見。2008年,孝感雕花剪紙經國務院批準列入國家級第一批非物質文化遺產擴展名錄,孝感亦因此被譽為“中國民間文化藝術之鄉(xiāng)”。 隨著時間的推移和市場經濟的發(fā)展,在二十一世紀的今天,孝感雕花剪紙逐漸陷入了尷尬的境地。各種新興文藝的沖擊,使得人們對民間傳統(tǒng)文化藝術的審美觀念逐漸開始變得淡�。坏窕艏埉a業(yè)發(fā)展缺乏資金支持,且其市場認知空間有限,尚未形成“規(guī)模效應”；民間剪紙藝人的生活來源沒有保障,導致參與剪紙的藝人越來越少；從事剪紙行業(yè)的藝人年齡層逐漸升高,老藝人紛紛謝世,許多精湛的技術無人繼承,導致孝感雕花剪紙面臨著青黃不接、瀕臨失傳的危險。 雕花剪紙藝術是生產實踐中產生的,其文化內涵和技藝價值要靠生產出的工藝作品來體現(xiàn),要使剪紙藝術長盛不衰,重現(xiàn)昔日輝煌,對其進行生產性保護無疑是最為合適的保護手段。在有效保護的基礎上開發(fā)出具有孝感地方、民族特色和市場潛力的剪紙商品,逐漸向市場運作轉軌,形成規(guī)模文化產業(yè),既可以滿足人民群眾日益增長的精神文化需求,又可使雕花剪紙行業(yè)收獲相當?shù)慕洕找�。通過這種生產性質的保護手段來使剪紙藝術得以不斷的傳承和發(fā)展。 本文將從保護民間剪紙藝人、大力推廣剪紙文化和大力發(fā)展相關產業(yè)等方面來闡述生產性保護中的一些可行性措施,并針對生產性保護中容易出現(xiàn)的相關問題,比如過度開發(fā)生產,產品泛濫,文化流失等一一提出分析,尤其是要正確處理好生產與保護之間的關系,在通過生產獲取經濟收益的同時也能使剪紙藝術的文化內涵和工藝特色得以真實、完整的傳承。
[Abstract]:Xiaogan carved paper-cut is an ancient folk culture and art of Xiaogan. It has a long history and rich cultural connotation. It takes the historical allusions of filial piety culture as its theme and interprets the customs and customs of filial piety from a special perspective. In its long and tortuous process of development, the composition of different periods, different regions of the achievements of the integration of China's northern paper-cutting rough and southern carving of the exquisite carved, in the artistic style of eclectic, self-made, Formed a unique artistic style. The application of carved paper-cut in daily life is very extensive. From the sample of handicraft embroidery to every aspect of people's daily life, including interior decoration, newspaper and periodicals, gift decoration, logo design, advertising, film and television media, Illustrations, bookmarks, etc., with very strong artistic, ornamental and decorative properties, which are welcomed by the broad masses of people. In 2008, Xiaogan carved paper-cut was approved by the State Council to be included in the first batch of national expanded lists of intangible cultural heritage. Xiaogan is therefore known as "the hometown of Chinese folk culture and art". With the passage of time and the development of market economy, in the 21 century, Xiaogan carved paper-cut gradually into an awkward situation. The impact of various new literature and art makes the aesthetic concept of folk traditional culture and art begin to become weak gradually, the development of carved paper-cut industry lacks of fund support, and its market cognitive space is limited, so it has not formed "scale effect". The livelihood of folk paper-cut artists is not guaranteed, resulting in fewer and fewer artists participating in paper-cutting; the age group of artists engaged in the paper-cutting industry is gradually rising, and old artists have died, and many skilled skills have not been inherited. As a result of Xiaogan engraved paper-cut faced with yellow and yellow, near the risk of loss. The paper-cut art of engraving is produced in production practice. Its cultural connotation and technical value should be reflected by the craft works produced, so that the paper-cut art can last forever and reproduce its former splendor. The productive protection is undoubtedly the most appropriate means of protection. On the basis of effective protection, paper-cut commodities with filial piety, national characteristics and market potential have been developed, and gradually transformed to the market, forming a cultural industry of scale, which can not only meet the increasing spiritual and cultural needs of the people, but also meet the growing spiritual and cultural needs of the people. Can also make engraving paper-cut industry to reap considerable economic benefits. Through this kind of production nature protection means to enable the paper-cut art to continue to inherit and develop. This paper will explain some feasible measures in productive protection from the aspects of protecting folk paper-cut artists, vigorously promoting paper-cut culture and developing related industries, and aiming at the related problems that are easy to appear in productive protection. For example, overdevelopment and production, overflowing of products, cultural loss, etc., one by one, should be analyzed, especially to correctly handle the relationship between production and protection. At the same time, it can make the cultural connotation and craft characteristic of paper-cut art true and complete.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J528.1

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本文編號：2105184