【摘要】：豐富多彩的中國(guó)傳統(tǒng)建筑裝飾藝術(shù)是古人留給我們的寶貴財(cái)富，螭吻為中國(guó)大屋頂上的傳統(tǒng)裝飾藝術(shù)之一，其形成和發(fā)展演變有著悠久的歷史。螭吻立于屋頂，最初是由其能夠加固屋頂?shù)奈菁菇粎R處這一建筑功能所決定的，隨著時(shí)間的發(fā)展，螭吻的造型、紋飾、色彩都逐漸開始產(chǎn)生了變化，并被人賦予了更多的美好寓意。 從圖像學(xué)的角度，對(duì)螭吻的起源進(jìn)行了回溯。從一些漢代畫像石，就可以發(fā)現(xiàn)漢代建筑屋頂?shù)恼箖啥司鸵呀?jīng)有了上翹的趨勢(shì)，其發(fā)展過程大致經(jīng)歷了：鴟尾期、鴟吻期和螭吻期。螭吻到了明清時(shí)期，其外形和文化內(nèi)涵都達(dá)到了高峰，是螭吻的發(fā)展史中最具特色的一個(gè)時(shí)期。明清螭吻可以分為官式螭吻和民式螭吻兩類，官式螭吻的造型固定、穩(wěn)重，紋飾富有特色，并且其外表都由一種顏色構(gòu)成。而民式螭吻則更為多樣，沒有固定的形制。琉璃渠是明清官式螭吻的重要產(chǎn)地，直至今日，其窯火依舊旺盛，生產(chǎn)工藝一直得以保留。 螭吻是中國(guó)龍文化的延伸，也是中國(guó)禮制文化的符號(hào)化，中國(guó)風(fēng)水文化、天人感應(yīng)觀的體現(xiàn)，除此之外，螭吻也給中國(guó)傳統(tǒng)建筑帶來了別具一格的美學(xué)價(jià)值。從螭吻的藝術(shù)化過程來看，螭吻與中國(guó)傳統(tǒng)的龍一樣，最初來源于對(duì)自然界的模仿，在這一過程中，，工匠們開始由模仿美逐漸升華到了創(chuàng)造美，最后跨越到了文化與內(nèi)涵的新高度。螭吻及以螭吻為代表的“龍子”元素，所具有的這些形式美感及文化內(nèi)涵，完全值得我們從設(shè)計(jì)的角度對(duì)其進(jìn)行深度挖掘。
[Abstract]:The rich and colorful Chinese traditional architectural decoration art is a precious treasure left by the ancients. It is one of the traditional decorative arts on the Chinese big roof, and its formation and development has a long history. It was originally determined by the architectural function of the roof, where it was able to reinforce the roof. Over time, the shape, decoration, and color of the kiss began to change. And was endowed with more beautiful moral. In this paper, the origin of kiss is traced back from the point of view of imageology. From some stone sculptures in Han Dynasty, it can be found that the two ends of the main ridge of the roof of the Han Dynasty have a trend of upwardness, and its development process has experienced roughly: the late stage of owl, the period of kissing and the period of kiss. During the Ming and Qing dynasties, its appearance and cultural connotation reached its peak, which was the most characteristic period in the history of its development. The official kiss can be divided into official kiss and folk kiss. The official kiss is fixed in shape, steady in shape, characteristic in pattern, and its appearance is made up of a kind of color. The folk kiss is more diverse, there is no fixed shape. Liu Li Canal is an important place of official kiss in Ming and Qing dynasties. To this day, the kiln fire is still strong, and the production technology has been preserved. The kiss is the extension of Chinese dragon culture, the symbolization of Chinese ritual culture, the embodiment of Chinese geomantic culture and the concept of natural and human induction. In addition, it also brings a unique aesthetic value to Chinese traditional architecture. From the point of view of the artistic process of the kiss, like the traditional Chinese dragon, the kiss originated from the imitation of nature. In this process, the artisans began to sublimate from imitating beauty to creating beauty. Finally, it leaps to a new height of culture and connotation. The form aesthetic feeling and cultural connotation of the "dragon" element represented by the kiss are fully worthy of our deep excavation from the point of view of design.
【學(xué)位授予單位】：湖南工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：TU238

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 劉志峰;周楊靜;;論室內(nèi)設(shè)計(jì)中的色彩藝術(shù)設(shè)計(jì)[J];安徽建筑;2007年06期

2 劉曉立;;淺談中國(guó)傳統(tǒng)吉祥紋樣中的如意紋[J];包裝世界;2011年02期

3 楊艷;;淺談中國(guó)古建筑屋脊吻獸件[J];福建建材;2010年04期

4 于倬云;故宮三大殿[J];故宮博物院院刊;1960年00期

5 程萬里;;古建琉璃作技術(shù)(九)[J];古建園林技術(shù);1988年01期

6 劉大可;明、清官式琉璃藝術(shù)概論（下）[J];古建園林技術(shù);1996年01期

7 胡正旗;李芋均;;也談“鴟尾”、“鴟吻”[J];長(zhǎng)江師范學(xué)院學(xué)報(bào);2012年09期

8 李瑞;舞臺(tái)關(guān)公形象塑造淺見[J];東方藝術(shù);2004年S1期

9 譚勇;;金碧輝煌的背后——琉璃渠村[J];中華民居(上旬版);2012年07期

10 郝鳴;吳衛(wèi);;六朝時(shí)期如意紋藝術(shù)符號(hào)初探[J];陶瓷科學(xué)與藝術(shù);2009年05期

本文編號(hào)：2170131