本文選題：清代徽墨　切入點(diǎn)：裝飾藝術(shù)　出處：《復(fù)旦大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：徽墨是文房四寶之一,是日用消耗品。晚明以來,隨著視覺藝術(shù)的興盛,徽墨的裝飾藝術(shù)也繁榮起來,使之具有了工藝品的身份。使用價(jià)值與藝術(shù)價(jià)值的疊加,有效地喚起了書畫家、收藏家的收藏徽墨與研究徽墨的熱情。迄今為止,關(guān)于徽墨的書籍多而雜,大多是介紹性質(zhì)的,而非研究性質(zhì)的；藏家及博物館編纂的圖錄材料豐富,但是體系性不強(qiáng)。清代徽墨裝飾演變的線索,以及促成演變的原因未曾被嚴(yán)肅地思考過,這是本文意欲解決的問題。筆者的研究有助于從社會(huì)需求、社會(huì)文化層面更加深入、全面、立體地理解某種裝飾藝術(shù)的產(chǎn)生與變化。本文的研究對象是清代徽墨裝飾藝術(shù),主要從造型、紋飾、銘文三方面切入研究。筆者在第二章中,運(yùn)用文物學(xué)分期斷代的方法,構(gòu)建清代徽墨裝飾藝術(shù)演變的框架,為進(jìn)一步研究打下基礎(chǔ)。第三章、第四章運(yùn)用接受美學(xué)的思維,研究文人趣味對徽墨設(shè)計(jì)的影響。文人對徽墨裝飾藝術(shù)的態(tài)度,決定了他們以什么樣的姿態(tài)參與徽墨制造。明清墨譜中保存有大量的當(dāng)時(shí)人的題識(shí),憑借乎此,可以明晰地看出文人對徽墨裝飾藝術(shù)的態(tài)度的變化。書畫藝術(shù)以及金石學(xué)是文人鐘情的領(lǐng)域,其發(fā)展脈絡(luò)與徽墨裝飾藝術(shù)的演變存在同步性,筆者通過分析這個(gè)同步發(fā)展的過程,來說明前者對后者的強(qiáng)大影響力。在第一期中,新安畫派直接導(dǎo)致徽墨主體紋飾的題材及表現(xiàn)手法的轉(zhuǎn)變；在第二期中,金石學(xué)的復(fù)興、文物收藏的興盛,使徽墨造型有了新的借鑒對象；在第三期中,金石學(xué)研究范圍擴(kuò)大,仿瓦當(dāng)造型、仿金石銘文的現(xiàn)象大量出現(xiàn)在徽墨上；碑學(xué)書法的產(chǎn)生,使徽墨銘文擺脫了單一的館閣體；海派繪畫進(jìn)入主體紋飾,獨(dú)具特色的海派徽墨由此誕生。
[Abstract]:Since the late Ming Dynasty, with the prosperity of visual art, the decorative art of ink has also flourished, making it have the identity of handicraft, the superposition of use value and artistic value. It has effectively aroused the enthusiasm of painters and collectors to collect and study Hui ink. So far, books on Hui ink have been numerous and miscellaneous, mostly of an introductory rather than a research nature; collectors and museums have compiled a wealth of materials for the compilation of pictures and records. However, the system is not strong. The clue of the evolution of the Qing Dynasty emblems and ink decoration and the reasons for the evolution have not been seriously considered. This is the problem this paper intends to solve. The author's research will help to deepen the social needs, social and cultural aspects. The object of this paper is the decoration art of the Qing Dynasty, mainly from three aspects of modeling, decoration, inscription. The author in the second chapter, In this paper, the author uses the method of historical relics to construct the framework of the evolution of embossed ink decorative art in Qing Dynasty, which lays the foundation for further research. Chapter three, Chapter 4th, applies the thinking of reception aesthetics. This paper studies the influence of literati's taste on the design of Hui ink. The attitude of literati towards the decoration art of Hui ink determines what kind of attitude they take to participate in the making of Hui ink. There are a large number of people's knowledge of the period in the ink spectrum of Ming and Qing dynasties, by virtue of this. It can be seen clearly that the change of the attitude of the literati towards the decoration art of Hui ink. Calligraphy and painting art and the study of gold and stone are the fields of love among the literati, and the development of them is synchronized with the evolution of the decoration art of the emblem and ink. By analyzing this process of synchronous development, the author explains the powerful influence of the former on the latter. In the first episode, the Xinan School of painting directly leads to the changes in the subject matter and expression techniques of the main embossed ink ornaments; in the second phase, the revival of the theory of gold and stone. The prosperity of the collection of cultural relics has given a new object for reference in the modeling of emblems. In the third period, the scope of the study of gold and stone has been expanded, and the phenomenon of imitating the inscriptions of the inscriptions of gold and stone has appeared in large numbers in the ink of the emblem. The inscription of emblem ink got rid of the single style of pavilion, and the painting of Shanghai school entered into the main pattern, thus the distinctive emblem ink of Shanghai school was born.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：K875.4

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本文編號(hào)：1633385