民间美术的现代性转化——以吕胜中作品为例  

An Iconological Study on the Modernity Transformation of Folk Paper Cuttings--Taking Lyu Shengzhong's Works as Examples

作　　者：刘逸荻 LIU Yidi(School of Fine Arts,Hunan Normal University,Changsha Hunan,410012,China)

机构地区：[1]湖南师范大学美术学院,湖南长沙410012

出　　处：《文化创新比较研究》2024年第7期68-72,共5页Comparative Study of Cultural Innovation

摘　　要：吕胜中的作品从传统民间剪纸艺术的土壤中汲取养分,与当代艺术表现形式相结合,在新时代环境下,实现传统民间美术的现代性转化,在国内外产生强烈反响。该文对吕胜中剪纸装置艺术的典型性及民间剪纸图案“抓髻娃娃”的艺术特色进行分析,探讨吕胜中小红人系列作品如何将民间剪纸的独特语言与当代艺术相结合,实现民间美术的现代性转化,从中感悟其作品背后蕴含的阴阳相合、正负对立共生的生命意识形态。吕胜中的系列作品为中国当代艺术的发展注入了新鲜血液,也对传统民间剪纸艺术更好地传承与发展产生重大的影响。Lyu Shengzhong's works draw nutrients from the soil of traditional folk paper cuttings art,combine with contemporary art forms,and realize the modern transformation of folk art in the new era environment,which has strong repercussions at home and abroad.This paper analyzes the typicality of Lyu Shengzhong's paper cuttings installation art and the artistic characteristics of folk paper cuttings pattern"bun doll",discusses how Lyu Sheng's series of small and medium-sized celebrities integrate the unique language of folk paper cuttings with contemporary art,from which we can understand the life ideology behind his works,which is the combination of yin and yang,the coexistence of positive and negative opposites.Lyu Shengzhong's series of works have injected fresh blood into the development of Chinese contemporary art,and have a significant impact on the better inheritance and development of traditional folk paper cuttings art.

关 键 词：吕胜中 民间美术 剪纸 抓髻娃娃 小红人 现代性转化 

分 类 号：J528[艺术—艺术设计]