【摘要】：漢代漆器在中國(guó)漆器史上具有舉足輕重的地位。進(jìn)行漢代漆器裝飾紋樣的研究,對(duì)于現(xiàn)代設(shè)計(jì)師重新認(rèn)知傳統(tǒng)工藝和裝飾元素并將其吸收、用以指導(dǎo)現(xiàn)代設(shè)計(jì)具有重要意義。 漢代漆器裝飾紋樣題材豐富,具有抽象表現(xiàn)、統(tǒng)一變化、均衡律動(dòng)和意象生動(dòng)等美學(xué)特征。紋樣的組合方式也是多種多樣,包括單獨(dú)紋樣、適合紋樣、連續(xù)紋樣和綜合紋樣。本論文在通過(guò)文獻(xiàn)研究法、圖像學(xué)研究法、調(diào)查分析法、實(shí)踐法等研究方法,在經(jīng)過(guò)重新研究的基礎(chǔ)上,結(jié)合漢代漆器裝飾紋樣在現(xiàn)代設(shè)計(jì)中的幾種運(yùn)用方式,發(fā)現(xiàn)體現(xiàn)傳統(tǒng)文化精髓和具有典型代表意義的紋樣、形象可直接沿用；設(shè)計(jì)師可以從漢代漆器裝飾紋樣中得到啟發(fā)和靈感,同時(shí)結(jié)合個(gè)人偏好及設(shè)計(jì)題材對(duì)裝飾紋樣進(jìn)行抽象提煉,按照寫意的形式加以利用；對(duì)于結(jié)構(gòu)復(fù)雜、形式多樣、不太適合于現(xiàn)代設(shè)計(jì)和審美要求的裝飾紋樣,可適當(dāng)進(jìn)行簡(jiǎn)化變形,這樣形成的紋飾既符合審美法則,又具有新的形象；對(duì)于那些含義豐富且多層次的裝飾紋樣,可將其進(jìn)行打散重構(gòu),并賦予其新的意義。 借鑒漢代漆器裝飾紋樣在現(xiàn)代設(shè)計(jì)中的運(yùn)用規(guī)律,筆者嘗試將漢代漆器裝飾紋樣用于髹漆飾品的裝飾設(shè)計(jì)中。在實(shí)踐過(guò)程中發(fā)現(xiàn)了其設(shè)計(jì)規(guī)律：漆畫的主體裝飾紋樣可選取稍顯復(fù)雜的動(dòng)、植物紋樣,運(yùn)用單獨(dú)紋樣作裝飾；手鐲、碗、鎮(zhèn)紙等規(guī)則類小飾品,裝飾紋樣應(yīng)稍顯簡(jiǎn)單；其他不規(guī)則類小飾品,如發(fā)簪、耳環(huán)等,則可在借鑒其它紋樣的基礎(chǔ)上進(jìn)行簡(jiǎn)化變形。設(shè)計(jì)及制作實(shí)踐豐富了髹漆飾品的裝飾紋樣,也為漢代漆器裝飾紋樣在現(xiàn)代設(shè)計(jì)中的傳承應(yīng)用進(jìn)行了有意義和有成效的嘗試。
[Abstract]:The lacquer ware of Han Dynasty plays an important role in the history of Chinese lacquer ware. The research on decorative patterns of lacquer ware in Han Dynasty is of great significance for modern designers to re-recognize and absorb traditional techniques and decorative elements to guide modern design. The decorative patterns of lacquer ware in Han Dynasty are rich in subject matter, with the aesthetic characteristics of abstract expression, unified change, balanced rhythm and vivid image. The combination of patterns is also diverse, including individual patterns, suitable for patterns, continuous patterns and synthetic patterns. In this paper, through literature research, graphic research, investigation and analysis, practice and other research methods, on the basis of re-study, combined with the Han Dynasty lacquer decorative patterns in the modern design of several applications, It is found that the images can be directly used to embody the essence of traditional culture and the patterns with typical representative meanings. Designers can get inspiration and inspiration from the decorative patterns of lacquer ware in Han Dynasty. At the same time combined with personal preferences and design themes to abstract the decorative patterns, according to the form of freehand brushwork to be used; for the complex structure, diverse forms, not suitable for modern design and aesthetic requirements of decorative patterns, It is possible to simplify and deform properly, so that the patterns formed not only conform to the aesthetic law, but also have a new image; for those decorative patterns with rich and multi-level meanings, they can be scattered and reconstructed and given new significance. The author tries to apply the decorative pattern of lacquer ware in Han Dynasty to the decoration design of lacquer ornaments for reference to the application of decorative patterns of lacquer ware in modern design of Han Dynasty. In the process of practice, we found its design law: the main decorative pattern of lacquer painting can select slightly more complicated patterns of animals and plants, using individual patterns as decoration, bracelets, bowls, paperweights and other regular small ornaments, the decorative patterns should be slightly simple; Other irregular ornaments, such as hairpin and earrings, can be simplified on the basis of other patterns. The design and production practice enriched the decorative patterns of lacquer ornaments, and also made a meaningful and effective attempt for the inheritance and application of lacquer decorative patterns in the modern design of the Han Dynasty.
【學(xué)位授予單位】：中南林業(yè)科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：TS934.3;J522

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本文編號(hào)：2217598