發(fā)布時間：2018-07-04 11:59

  本文選題：屏風藝術 + 文化傳承　； 參考：《天津科技大學》2015年碩士論文

【摘要】：中華文化博大精深,之于手工藝更是凝結了各代風華后呈現(xiàn)給眾人。中式家具早已聲名海外,引領各界大師紛紛效仿,而作為其中比較獨特的一類——屏風,卻是不如桌椅之流來的熱門,本文意在通過幾個方面,分析中國傳統(tǒng)屏風的發(fā)展流變,包含的中式文化內涵,并細化研究其與中式會館空間的關聯(lián)。首先,讀史明鑒,不僅僅能明人心智,在設計上如果能博覽古今,深入探討本民族最根本的文化,便可以駕輕就熟,設計出真正有文化靈魂的產(chǎn)品,就像現(xiàn)在的日本,對禪宗文化的細致入微的分解研究,再加上本身在設計中的實踐,理論上有了“無意識設計”、“再設計”等為眾人津津樂道的設計理念；實踐上有“無印良品”、“三宅一生”等國際認知程度相當高的品牌。所以,研究屏風發(fā)展歷史與文化內涵,是怎樣都繞不開的一關。其中包含了中國的建筑風水學,傳統(tǒng)人文倫理學,還有中國傳統(tǒng)繪畫藝術等等。其次,現(xiàn)代社會的發(fā)展往往變遷著文化、需求與技藝。文化和需求上來講在古代,屏風是皇權貴族、文人雅士的寄情之物,是風水文化的點睛之筆,屏風雖自始至終都不是大眾消費品,但是在舊時代卻是皇權貴族必備的一件器具,如同桌椅板凳�，F(xiàn)代社會中空間的擁擠與建筑格局的變化使得屏風的需求大大降低,越來越少的家庭選擇為室內搭配一件屏風,反而是那些大的空間區(qū)如會館、餐館等用的比較多,但是其往往比較看重實用性,所以現(xiàn)在的隔斷較之屏風要多的多,雖然本質上二者都是屏障之物,但是慢慢的,屏風開始自動為古風之屏障做起了代言,而那些可快速變化造型,瞬間開合的現(xiàn)代屏障之物則多被稱為隔斷；技藝上來講,古代多為木質,以榫卯結構連接,多講究氣節(jié)風韻,現(xiàn)代中其材料繁復之多,工藝之復雜早不可同年而語也。通過此次分析,本著古文今用的意圖,想完整的再現(xiàn)中國傳統(tǒng)屏風文化,并結合現(xiàn)代需求,設計出一件適合現(xiàn)代中式會館的屏風。
[Abstract]:Chinese culture is profound, in the handicraft is condensed after all generations of flamboyant presented to everyone. Chinese furniture has long been famous overseas, leading the masters from all walks of life to emulate it one after another, but as one of the more unique category-screen, it is not as popular as table and chair. This paper aims to analyze the development and evolution of Chinese traditional screen through several aspects. Including the Chinese cultural connotation, and detailed study of its relationship with the Chinese hall space. First of all, by reading Shi Mingjian, we can not only understand the minds of people, but if we can explore the ancient and modern times in terms of design and deeply explore the most fundamental culture of our nation, we will be able to master and design products that really have a cultural soul, just like Japan today. The detailed research on the decomposition of Zen culture, coupled with its own practice in design, has in theory a "unconscious design", "redesign" and other design concepts that people love to talk about; in practice, there are "imprinted good products." "Miyake Life" and other international recognition of the high level of brand. Therefore, how to study the history and cultural connotation of screen development is a difficult problem. It includes Chinese architecture feng shui, traditional humanities ethics, and Chinese traditional painting art. Secondly, the development of modern society often changes culture, demand and skill. In terms of culture and needs, in ancient times, screen was the object of imperial power and aristocrat, and it was the finishing touch of geomantic culture. Although screen was not a consumer goods for the masses from the beginning to the end, it was a necessary appliance for royalty and aristocracy in the old era. Like tables and chairs. In modern society, the demand for screens has been greatly reduced by the crowding of space and the changes in building patterns. Fewer and fewer families choose to match a screen indoors, but on the contrary, those large space areas such as clubhouses, restaurants, and so on are used more. However, it tends to value practicality, so now there are more partitions than screens. Although both are essentially barriers, but slowly, screens begin to speak automatically for the barriers of ancient styles. And those modern barriers that can change their shapes quickly and are instantly opened and closed are often called separations. Technically speaking, ancient times were mostly wooden, connected with tenon and tenon structures, with more emphasis on style and charm, and modern materials were so complicated that they were complicated. The complexity of the craft can not be the same as the same year. Through this analysis, in line with the intention of using the ancient Chinese style, we want to completely reproduce the traditional Chinese screen culture, and combine with the modern demand, design a screen suitable for the modern Chinese guild hall.
【學位授予單位】：天津科技大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：TS664.01

【相似文獻】

相關碩士學位論文 前2條

1 徐丹;中式會館屏風設計[D];天津科技大學;2015年

2 吳曉燕;論烏蘭牧騎對蒙古族文化傳承的作用[D];內蒙古大學;2013年

，

本文編號：2096008