【摘要】： 在經(jīng)濟(jì)繁榮,政治穩(wěn)定的大背景下,畫(huà)廊產(chǎn)業(yè)迅速崛起。作為展覽和銷(xiāo)售美術(shù)作品的場(chǎng)所,其燈光應(yīng)當(dāng)兼具藝術(shù)展示和商業(yè)吸引的雙重作用,一些私人畫(huà)廊兼做創(chuàng)作場(chǎng)所,燈光又肩負(fù)了適于創(chuàng)作的責(zé)任。目前國(guó)內(nèi)外對(duì)展示性燈光的研究主要集中在博物館照明和美術(shù)館照明,中國(guó)建筑照明設(shè)計(jì)標(biāo)準(zhǔn)(GB50034-2004)中也制定了相關(guān)規(guī)范,并在實(shí)踐上取得了寶貴的經(jīng)驗(yàn),但對(duì)于藝術(shù)畫(huà)廊照明這一融合創(chuàng)作、展示、商業(yè)的領(lǐng)域一直缺少關(guān)注,本文的研究充分借鑒既有的博物館美術(shù)館照明研究模式,基于畫(huà)家的創(chuàng)作需求和繪畫(huà)作品本身的展示需要,運(yùn)用專(zhuān)業(yè)的照明理論,為藝術(shù)畫(huà)廊照明提供可實(shí)施的照明依據(jù)。 文章首先分析了同樣作為展示照明,畫(huà)廊照明和博物館及美術(shù)館照明的不同之處,揭示對(duì)其進(jìn)行單獨(dú)立項(xiàng)研究的必要性和重要性。之后,針對(duì)展示照明中最為重要的顏色特性做研究并對(duì)現(xiàn)有人工光源的照明效果進(jìn)行比較分析,得出適用于畫(huà)廊照明的光源類(lèi)型。 在這樣的理論基礎(chǔ)上,作者走訪幾位國(guó)內(nèi)外知名的畫(huà)家,調(diào)研其畫(huà)廊工作室的照明現(xiàn)狀,主要在顏色特性方面得出其工作室現(xiàn)狀照明的優(yōu)點(diǎn)和不足,與之溝通了解藝術(shù)創(chuàng)作人士對(duì)光環(huán)境的需求,針對(duì)畫(huà)家的不滿之處提供解決辦法：設(shè)計(jì)了一款可調(diào)節(jié)照度及色溫的燈具,使其可以滿足不同畫(huà)家對(duì)創(chuàng)作光環(huán)境的要求。并于畫(huà)廊工作室中進(jìn)行實(shí)踐性實(shí)驗(yàn),驗(yàn)證這個(gè)辦法的合理性。 第四章對(duì)畫(huà)廊展示照明進(jìn)行了深入的分析研究,包含天然光、人工光、混合光在畫(huà)廊的使用,考慮不同畫(huà)作種類(lèi)和風(fēng)格,從展品照明到展示空間照明及其他過(guò)渡性功能空間照明,得出畫(huà)廊照明的合理設(shè)計(jì)方式和指標(biāo)。之后對(duì)某個(gè)人畫(huà)廊進(jìn)行實(shí)踐性的照明設(shè)計(jì),經(jīng)歷與藝術(shù)家溝通,建立照明模型,進(jìn)行各項(xiàng)光分布參數(shù)的軟件模擬計(jì)算和現(xiàn)場(chǎng)實(shí)驗(yàn),選擇合適的燈具和燈具布置方式。燈具安裝完成后得到畫(huà)廊主人的認(rèn)可。 最后從理論和實(shí)踐兩方面,對(duì)畫(huà)廊照明做了總結(jié)和展望。為畫(huà)家,畫(huà)廊所有者和照明設(shè)計(jì)者提供一套可供參考的畫(huà)廊照明體系,以達(dá)到為藝術(shù)創(chuàng)作和藝術(shù)展示提供良好舒適光環(huán)境的目的。
[Abstract]:Under the background of economic prosperity and political stability, the gallery industry is rising rapidly. As a place for exhibition and sale of art works, its lighting should play a dual role in both artistic display and commercial attraction. Some private galleries act as creative places, and lighting shoulders the responsibility suitable for creation. At present, the research on exhibition lighting at home and abroad is mainly focused on museum lighting and art gallery lighting. The Chinese Architectural Lighting Design Standard (GB50034-2004) has also formulated relevant specifications, and gained valuable experience in practice. However, there has been a lack of attention to the fusion creation, display and commercial field of art gallery lighting. The research in this paper fully draws lessons from the existing research mode of museum and art gallery lighting. Based on the creative needs of painters and the display needs of painting works themselves, the professional lighting theory is used to provide feasible lighting basis for art gallery lighting. This paper first analyzes the differences between exhibition lighting, gallery lighting and museum lighting, and reveals the necessity and importance of separate project research. After that, the most important color characteristics of display lighting are studied and the lighting effects of existing artificial light sources are compared and analyzed, and the types of light sources suitable for gallery lighting are obtained. On the basis of this theory, the author visits several famous painters at home and abroad, investigates the lighting status of his gallery studio, mainly obtains the advantages and disadvantages of the current lighting of his studio in terms of color characteristics, communicates with it to understand the needs of artistic creators for the light environment, and provides solutions to the painters' dissatisfaction: a lamp that can adjust the illuminance and color temperature is designed. So that it can meet the requirements of different painters for the creation of light environment. Practical experiments are carried out in gallery studio to verify the rationality of this method. In the fourth chapter, the gallery display lighting is deeply analyzed and studied, including the use of natural light, artificial light and mixed light in the gallery, considering different painting types and styles, from exhibition lighting to display space lighting and other transitional function space lighting, and the reasonable design mode and index of gallery lighting are obtained. Then the practical lighting design of an individual gallery is carried out, the communication with the artist is experienced, the lighting model is established, the software simulation calculation and field experiment of each light distribution parameter are carried out, and the appropriate lamps and lanterns arrangement are selected. After the installation of lamps and lanterns is completed, it is approved by the owner of the gallery. Finally, from the theoretical and practical aspects, the gallery lighting is summarized and prospected. Provide a set of gallery lighting system for painters, gallery owners and lighting designers for reference, in order to provide a good and comfortable light environment for artistic creation and art display.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：TU113.662

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 林明杰;;滬上畫(huà)廊綜述[J];大美術(shù);2006年01期

2 龔云表;;上海畫(huà)廊的回望、觀望和瞻望之一:回望[J];大美術(shù);2006年02期

3 李艷鋒;;中國(guó)大陸地區(qū)畫(huà)廊業(yè)的區(qū)域分化[J];大美術(shù);2006年11期

4 程靜;;論畫(huà)家的視覺(jué)方式[J];阜陽(yáng)師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2003年02期

5 鄭代順;錢(qián)可元;羅毅;;低色溫高顯色性大功率白光LED的制備及其發(fā)光特性研究[J];光電子·激光;2006年12期

6 吳海彬,王昌鈴;白光LED封裝材料對(duì)其光衰影響的實(shí)驗(yàn)研究[J];光學(xué)學(xué)報(bào);2005年08期

7 吳海彬;王昌鈴;何素梅;;涂敷紅、綠熒光粉的白光LED顯色性研究[J];光學(xué)學(xué)報(bào);2008年09期

8 陸燕,俞麗華;博物館照明及其視覺(jué)環(huán)境評(píng)價(jià)[J];光源與照明;1998年01期

9 陳大華;博物館和藝術(shù)館中展覽柜照明[J];光源與照明;2000年03期

10 庾晉;充分采用天然光——綠色照明的重要通途[J];光源與照明;2003年01期

，

本文編號(hào)：2497682