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翻了翻这本将要出版的《中国民俗剪纸》,首先为鲁生的热情所感动。编著分类法未必十分确切,但它的企图足以表明:这些剪纸的出现场所大有差别。由此所见,目前开始出现的“环境艺术”之类的新概念,其实在古老的民俗艺术中已经存在着论据。不过因为时代的生态环境和物质条件不同,所以作品的形式、风格和审美趣味有所差别而已。就作品如何在人们生存于其中的物质环境与精神环境,如何作用于剪纸作品的创造意图这一点来说,新旧剪纸艺术的形式变化多佯,却有万变不离其宗的共性。这就更使我觉得,对传统的民间民俗艺术采取“旧的不去,新的不来”的主张,是难以令人接受的信口开河。剪纸艺术也象植物的旧种子之于它那新萌芽的关系那样,继承作用不能抹煞。正是为了创新,这本七籍的出版有了特殊意义。1989年11月的9日——23日,我在日本生活了两个星期。我对接触到的日本民间艺术与现代生活的关系,理解虽是零碎的而非系统的,但我没有因此望洋兴叹,而是觉得中国人对中国民间美术不宜
The Chinese folk paper-cut, which is about to be published, has been flipped over. It was first touched by the passion of Lusheng. The typology is not necessarily exact, but its attempts are sufficient to show that there is a big difference between the places where these paper cuts occur. From this we can see that the new concept of “environmental art” that is currently beginning to appear has in fact existed in ancient folk art. However, because of the different ecological environment and material conditions of the times, the forms, styles and aesthetic tastes of the works are different. In terms of how works work in the material environment and spiritual environment in which people live and how they act on the intention of creating paper-cut works, the forms of old and new paper-cut arts have been changing in many ways but changing in common. This further makes me think that it is unacceptable to believe that traditional “folk no-go” and “new not-come” ideas should be taken of traditional folk folk art. The art of paper-cut also resembles the plant’s old seed to its newly sprouted relationship, and inheritance can not be obliterated. It is for innovation that the publication of the seven books has a special meaning. From November 9 to November 23, 1989, I lived in Japan for two weeks. My understanding of the relationship between Japanese folk art and modern life is understandably fragmentary rather than systemic, but I did not despair, but felt that the Chinese were not suitable for Chinese folk art