本文關(guān)鍵詞： 大漆 現(xiàn)代漆藝品 漆立體造型藝術(shù) 公共空間藝術(shù) 奢侈品設(shè)計(jì) 應(yīng)用價(jià)值　出處：《江西科技師范大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：隨著科技進(jìn)步生活節(jié)奏的加快，有著數(shù)千年歷史的漆藝面臨發(fā)展的困境，以手工打造為主的漆藝品已經(jīng)離我們的日常生活越來(lái)越遠(yuǎn)。大漆是中國(guó)傳統(tǒng)漆工藝的重要媒材，它不只是一種簡(jiǎn)單的涂料，它的自然屬性已經(jīng)轉(zhuǎn)換為一種文化品性，承載著豐富的人文信息和精神內(nèi)涵。大漆的材質(zhì)語(yǔ)言對(duì)于漆藝品本身而言至關(guān)重要，決定其最終呈現(xiàn)的樣式與面貌，影響作品的實(shí)用性展現(xiàn)和精神表達(dá)�，F(xiàn)如今在中國(guó)現(xiàn)代漆藝的發(fā)展過(guò)程中，大漆所處的地位和價(jià)值沒(méi)有得到應(yīng)有的重視。 本論文從對(duì)大漆的物用和工藝髹飾技法的研究入手，，挖掘大漆及漆工藝的文化內(nèi)涵和歷史意義。闡述大漆在現(xiàn)代漆藝品的創(chuàng)作領(lǐng)域的應(yīng)用研究，將傳統(tǒng)漆工藝精髓進(jìn)行提取重建，借助于大漆的特殊表現(xiàn)力，將實(shí)用性與審美性結(jié)合，使漆藝品重新回歸現(xiàn)代社會(huì)的生活環(huán)境之中；大漆及漆工藝介入公共空間藝術(shù)和奢侈品設(shè)計(jì)的范圍，大漆材料的綠色環(huán)保及文化內(nèi)涵符合現(xiàn)代人的生態(tài)理念與精神追求，在發(fā)揚(yáng)傳統(tǒng)的同時(shí)，為適應(yīng)現(xiàn)代人的審美，運(yùn)用大漆獨(dú)特的材質(zhì)及工藝語(yǔ)言進(jìn)行藝術(shù)風(fēng)格上的創(chuàng)新；在現(xiàn)代漆藝品的開(kāi)發(fā)過(guò)程中，繼承傳統(tǒng)文脈，讓大漆增加現(xiàn)代漆藝品的軟性附加價(jià)值，同時(shí)緊密結(jié)合生活領(lǐng)域，拓展更為廣闊的應(yīng)用空間，試圖找到大漆材料持久融入現(xiàn)代生活的方式方法。通過(guò)對(duì)大漆在現(xiàn)代漆藝品創(chuàng)作領(lǐng)域的具體應(yīng)用的相關(guān)研究，用以提高對(duì)大漆在現(xiàn)代漆藝品創(chuàng)作中應(yīng)用的重要價(jià)值——文化藝術(shù)和社會(huì)功用價(jià)值的認(rèn)知，為中國(guó)漆工藝未來(lái)的可持續(xù)健康發(fā)展提供一個(gè)參考方向。
[Abstract]:With the development of science and technology, the lacquer art with a history of thousands of years is facing the dilemma of development. The lacquer art, which is mainly made by hand, has become more and more distant from our daily life. Large lacquer is an important medium of Chinese traditional lacquer technology. It is not just a simple coating, its natural attributes have been transformed into a cultural character, carrying a wealth of humanistic information and spiritual connotations. It determines the style and appearance of the final presentation, and affects the practical display and spiritual expression of the works. Nowadays, in the development of Chinese modern lacquer art, the position and value of large lacquer has not received due attention. This paper starts with the research on the techniques of lacquer and lacquer painting, excavates the cultural connotation and historical significance of the lacquer and lacquer technology, and expounds the application and research of the large lacquer in the field of modern lacquer art. The essence of the traditional lacquer process is extracted and reconstructed, with the help of the special expressive power of the large lacquer and the combination of practicability and aesthetics, the lacquer art products are returned to the living environment of the modern society. Large lacquer and lacquer technology are involved in the scope of public space art and luxury design. The green environmental protection and cultural connotation of large lacquer materials conform to the ecological concept and spiritual pursuit of modern people. In the process of developing modern lacquer art products, inheriting the traditional context, allowing large lacquer to add soft additional value to modern lacquer art products, and closely combining with the field of life, use the unique material and craft language of large lacquer to carry on innovation in artistic style, and in the course of the development of modern lacquer art products, to inherit the traditional context. Through the research on the concrete application of large lacquer in the field of modern lacquer art creation, we try to find a way to integrate large lacquer materials into modern life. In order to improve the recognition of the important value of large lacquer in the creation of modern lacquer arts, culture, art and social function, this paper provides a reference direction for the sustainable and healthy development of Chinese lacquer technology in the future.
【學(xué)位授予單位】：江西科技師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J527

【參考文獻(xiàn)】

中國(guó)期刊全文數(shù)據(jù)庫(kù) 前10條

1 蒲江;黃蜜;;當(dāng)代漆藝在公共藝術(shù)中的人文內(nèi)涵[J];包裝工程;2010年14期

2 湯志義;;從材料角度看漆藝的繼承與創(chuàng)新[J];集美大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2006年04期

3 支林;樊俊濤;;傳統(tǒng)漆器的多元化藝術(shù)特征研究[J];美術(shù)大觀;2011年05期

4 喬十光;戴著腳鐐跳舞[J];美術(shù)觀察;1996年11期

5 叢玲玲;;認(rèn)識(shí)大漆與漆用[J];美術(shù)觀察;2008年06期

6 潘天波;胡玉康;;論日本現(xiàn)代漆藝文化之道[J];日本研究;2011年02期

7 何豪亮;漆藝復(fù)興淺論[J];中國(guó)生漆;2005年01期

8 張飛龍;;中國(guó)漆文化歷史淵源研究[J];中國(guó)生漆;2006年01期

9 張飛龍;;中國(guó)漆文化的整合特征研究[J];中國(guó)生漆;2006年01期

10 潘天波;胡玉康;;大漆詩(shī)緣發(fā)墨[J];中國(guó)生漆;2011年01期

本文編號(hào)：1534962