本文選題：陵陽公樣 + 竇師綸　； 參考：《北京服裝學(xué)院》2017年碩士論文

【摘要】：研究生期間跟隨導(dǎo)師做相關(guān)傳統(tǒng)服飾圖形方面的研究,經(jīng)過為期三個月的初探,深深被我國傳統(tǒng)文化所吸引,經(jīng)過與導(dǎo)師的探討,帶著對傳統(tǒng)文化的濃厚興趣將其發(fā)展成為研究生期間的研究課題。希望通過我對“陵陽公樣”的個案研究,可以為大家清晰的展現(xiàn)其設(shè)計之美,從而更多的了解同時期的唐代文化。最后希望建立在研究的基礎(chǔ)上,能夠呈現(xiàn)出相關(guān)將傳統(tǒng)文化與現(xiàn)代設(shè)計完美結(jié)合的設(shè)計作品。本文主要是對唐代服飾圖形“陵陽公樣”的個案研究,之所以選擇個案研究的方式,是希望通過以點帶面的方法,在有針對性的對“陵陽公樣”進(jìn)行深入透徹研究的基礎(chǔ)上,找到新的創(chuàng)意點,繼而為畢業(yè)設(shè)計做準(zhǔn)備。所謂的“陵陽公樣”是指太宗年間由竇師綸主持設(shè)計的在吸收外來紋樣基礎(chǔ)上形成的外層團(tuán)窠內(nèi)置對稱式動物結(jié)構(gòu)的圖形,這些圖形主要用于皇室所用的“瑞錦”、“宮綾”之上,由于竇師綸官封陵陽公,故后人將其主持設(shè)計的一系列圖形稱之為“陵陽公樣”�！傲觋柟珮印弊鳛樘拼棃D形的典型代表,直至晚唐仍有余韻。這也是歷史上為數(shù)不多的只存在于某一個朝代的獨有服飾圖形。隨著時間的發(fā)展“陵陽公樣”融入了歷史的長河之中,可能其在晚唐之后仍有發(fā)展,卻不再稱之為“陵陽公樣”。“陵陽公樣”的產(chǎn)生建立在外來文化與本土文化相結(jié)合的基礎(chǔ)之上,它本身就體現(xiàn)了兼收并蓄,古為今用等特點。而如何將“陵陽公樣”很好地融合到當(dāng)代設(shè)計中,即為我的研究點以及創(chuàng)新點。本文希望通過對“陵陽公樣”的研究,結(jié)合當(dāng)代設(shè)計的特點將其運用當(dāng)代的設(shè)計語言表現(xiàn)出來,希望在能夠很好地弘揚中國傳統(tǒng)文化的基礎(chǔ)之上探索“陵陽公樣”在現(xiàn)代設(shè)計應(yīng)用中的可能性。
[Abstract]:During the post-graduate period, I followed my tutor to do some research on traditional dress graphics. After a three-month exploration, I was deeply attracted by the traditional culture of our country and discussed with my tutor.With a strong interest in traditional culture, it has developed into a graduate research topic.I hope that through my case study of "Lingyang public sample", we can clearly show the beauty of its design, so as to learn more about the Tang Dynasty culture of the same period.Finally, I hope that based on the research, we can present the design works which combine traditional culture and modern design perfectly.This article is mainly to the Tang Dynasty clothing figure "Lingyang public sample" the case study, the reason why chooses the case study way, hoped through the point belt method, in has the pertinence to carry on the thorough research to "the Lingyang public sample" on the basis of the thorough research.Find new ideas and prepare for graduation projects.The so-called "Lingyang public sample" refers to a figure designed by Dou Shi-lun during the Taizong years to form a symmetrical animal structure inside the outer layer on the basis of absorbing external patterns. These figures are mainly used in the "Ruijin" used by the royal family."Gongya", due to Dou Shilun officials seal Lingyang, so later generations will be the design of a series of graphics called "Lingyang public sample."Lingyang public sample, as a typical representative of Tang Dynasty dress figure, still has afterrhyme in late Tang Dynasty.This is also one of the few unique costume figures in history that only exist in a certain dynasty.With the development of time, "Lingyang public sample" has been integrated into the long history. It may still develop after the late Tang Dynasty, but it is no longer called "Lingyang public sample".The emergence of "Lingyang Public sample" is based on the combination of foreign culture and local culture.How to integrate "Lingyang Public sample" into contemporary design is my research point and innovation point.This paper hopes that through the study of "Lingyang public sample", combining with the characteristics of contemporary design, it will be expressed by the contemporary design language.Hope to explore the possibility of "Lingyang public sample" in the application of modern design on the basis of carrying forward Chinese traditional culture well.
【學(xué)位授予單位】：北京服裝學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：TS941.2

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