民间剪纸是民间美术中特征极为鲜明、流行十分普遍的艺术门类。民间剪纸在稳定的传承性和运动的变异性对立碰撞中,走着一条并不平坦的现代之旅。应该怎样来认识民间剪纸的现代之旅呢?唐星明的论文认为,可以从本体、客体、主体三个方面进行探讨:民间剪纸本体从原始艺术脱胎而来,带有鲜明的神秘意味和主观意识,它的原发性特征与现代艺术的某些观念相通,其造型的随意性、概括性、象征性、平面性和抽象性与某些现代艺术血脉相连;从客体角度考察,民间剪纸作为民俗文化的载体之一,目前中国已出现了产生现代艺术的土壤;但关键还要看作为审美创造主体的人是否是一个真正具有现代意识、有敏锐的艺术领悟力和创造力的人。八大山人（1626—1705）,是明末清初伟大书画家,其绘画（特别是花鸟画）对后人影响深远。王朝闻先生认为,八大山人的明宗室后裔的身世,处于政治动荡的时代,恃才傲物而又不愿为清廷所利用的矛盾心态,对他的艺术思想与创作活动,形成了巨大的精神压力。他在有的花鸟画中刻画了寓美于丑、丑中见美的形象,除了某些借自然现象以象征或讽刺社会丑恶的作品,许多画中的自然景色都富有引得起美感的生命力。并指出,对八大山人艺术的研究,也意味着有比较地认识中国艺术的传统。 主持人 黄远林 Folk paper-cut is a very popular and popular art category in folk art. Folk paper-cut In the steady inheritance and movement of the opposite of the opposite impact, walking is not a smooth modern journey. How to understand the modern journey of folk paper-cutting? Tang’s thesis holds that we can explore from three aspects of ontology, object and subject: the body of folk paper-cut is born from original art with a distinct mystery and subjective consciousness, Its primary features are connected with some concepts of modern art. The randomness, generality, symbolicness, planarity and abstraction of its shape are connected with some modern art. From the perspective of object, folk paper-cut is regarded as folk culture At present, the emergence of modern art has emerged in China. However, the key point is whether the person who is the subject of aesthetic creation is a person who truly possesses modern consciousness and has keen artistic understanding and creativity. Badashan (1626-1705), a great painter and calligrapher in the late Ming and early Qing dynasties, whose paintings (especially flower and bird paintings) have a far-reaching impact on future generations. Mr. Wang Zhaowen believes that the life experiences of the descendants of the Badaling people in Badashan are in an era of political turmoil and they are unwilling to sacrifice the contradictory mentality they used for the Qing court and have created tremendous mental pressure on his artistic thoughts and creative activities . In some flowers and birds paintings, he portrayed the images of beauty and ugliness, the beauty of ugliness, and the natural beauty of many of the paintings, except for some works that use natural phenomena to symbolize or satirize social ugliness. And pointed out that the study of the art of Bada Shanren also means that there is a comparative understanding of the tradition of Chinese art. Host Huang Yuanlin