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内容主要包括剪纸的发展历史、剪纸的文化内涵、剪纸的地域风格、剪纸的表现手法、剪纸的制作技艺、民间传统剪纸纹样、剪纸创作作品赏析七个部分。民间剪纸是我国民族传统文化的重要组成部分，传承和发展民间剪纸对保持本土文化特色有重要的作用。本书理论与实践相结合，通过理论学习加强学生对传统文化的认知，通过实践操作指导学生掌握剪纸技艺，通俗易懂，具有较强的针对性和实际应用价值和实践推广价值。

目  录

章  剪纸的发展历史······································································································· 1

第二章  剪纸的文化内涵······································································································· 5

一、原始巫术和图腾崇拜文化································································································ 5

二、生殖繁衍和阴阳哲学文化······························································································ 10

三、驱邪压胜（厌胜）和吉祥瑞福文化················································································· 14

第三章  剪纸的地域风格····································································································· 24

一、东北地区的剪纸··········································································································· 24

二、华北地区的剪纸··········································································································· 27

三、西北地区的剪纸··········································································································· 29

四、西南地区的剪纸··········································································································· 32

五、东南地区的剪纸··········································································································· 35

第四章  剪纸的表现手法····································································································· 38

一、纹样的黑白比重··········································································································· 38

二、画面的色彩关系··········································································································· 41

三、纹样的组织方法··········································································································· 44

第五章  剪纸的制作技艺····································································································· 50

一、剪纸的材料与工具········································································································ 50

二、剪纸的制作工艺··········································································································· 52

第六章  民间传统剪纸纹样·································································································· 56

一、生命树························································································································ 56

二、喜  花························································································································· 59

三、抓髻娃娃····················································································································· 63

四、门  笺························································································································· 67

第七章  学生剪纸作品选····································································································· 70

一、廉政主题剪纸··············································································································· 70

二、吉祥瑞福剪纸··············································································································· 90

三、景观古镇剪纸············································································································· 118

参考文献·························································································································· 134

曹国洪，男，重庆文理学院美术与设计学院教师，教学办公室主任，副教授，中国美术家协会会员。主要从事美术创作、美术教学与美术理论研究工作。16件作品在全国美展及省市美展中参展与获奖，26件作品发表在《美术观察》、《文艺研究》、《艺术百家》等专业期刊中，18篇论文发表在《美术观察》、《民族艺术研究》等专业期刊中，主持主研教改项目8项，主持主研科研项目6项。

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剪纸又叫刻花、剪花、纸花、纸样等，是运用剪刀或刻刀在纸上进行镂空剪刻的一种民间艺术形式，也是我国传统文化中乡土气息浓、群众基础深的民间艺术之一。

镂刻艺术产生于新石器时代，通过在兽皮、树叶、树皮等材料上进行镂刻艺术加工，表达人类初的审美情感。从商代开始有人用金银箔、皮革或丝织品进行镂空刻花制作装饰品，这些装饰物，虽然不是真正意义上的剪纸，但在刻制技术和艺术风格上，可以说是剪纸艺术的雏形。

西汉时期，人们用麻纤维造纸，传说汉武帝的宠妃李氏去世后，汉武帝思念不已，寝食不安，于是请术士用麻纸剪了李妃的剪影为其招魂，这大概是早的剪纸。公元105年，蔡伦发明造纸术，随着造纸术的发展和普及，为镂花艺术形式提供了简易的制作材料，从而诞生了剪纸艺术。尽管剪纸艺术发展至今已有两千年的历史，但由于纸张不宜保存，目前有据可查早的剪纸是 20 世纪 60 年代，在新疆吐鲁番盆地的阿斯塔那古墓群中，发现的南北朝时期的对马团花剪纸（见图1-1）和对猴团花剪纸（见图1-2）。这两张团花剪纸都采用麻料纸折叠剪刻，成为我国剪纸发展历史中早的实物佐证。

                                         图1-1  对马团花剪纸                                                    图1-2  对猴团花剪纸

唐宋时期，民间流行“镂金作胜”的风俗，“胜”就是用纸或金银箔、丝帛剪刻而成的花样。剪成套方几何形者，称为“方胜”；剪成花草形者，称为“华胜”；剪成人形者，就称之为“人胜”。南朝梁宗懔在《荆楚岁时记》中记载：“正月七日为人日，以七种菜为羹；剪彩为人，或镂金箔为人，以贴屏风，亦戴之于头鬓；又造华胜以相遗。”

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前言

前   言

民间剪纸是中华民族传统文化的重要组成部分，有着广泛的群众基础，具有极高的艺术价值和文化价值。民间剪纸造型语言独特，表现寓意丰富，文化内涵深刻，是广大劳动人民世界观、价值观、道德观和审美观的综合反映，是中华民族民俗民间文化的物化体现。

随着全球经济一体化的发展，民族文化在保持本土文化特色方面有着十分重要的作用，民间剪纸作为中华民族传统文化的重要组成部分，必须得到真正意义上的保护、传承和发展。

本书理论与实践相结合，通过理论学习可以加强学生对传统文化的认知，通过实践操作可以指导学生掌握剪纸技艺。本书通俗易懂，面向高校各专业学生，既可以作为教学指导用书，又可以作为参考学习用书，同时也可以作为广大民间文艺爱好者的自学临本，具有较强的实际应用价值和实践推广价值。

本书在编写过程中得到了重庆文理学院的大力支持和资助，在此深表感谢。由于编者才疏学浅，难免出现疏漏，敬请各位同仁批评指正。

 曹国洪

2015年12月