本文選題：徽州文化 + 徽州三雕人物　； 參考：《安徽工程大學(xué)》2014年碩士論文

【摘要】：徽州“三雕”作為徽派建筑上的精美裝飾,與建筑整體巧妙融合,是徽文化的重要顯性標(biāo)識(shí)之一。以人物為題材的三雕作品,以儒學(xué)為主干,雜糅著民間佛道信仰而自成一體,反映了徽州百姓生活中的藝術(shù)化追求,是中華傳統(tǒng)文化的“活化石”。其中的人物形象更是服飾藝術(shù)的現(xiàn)實(shí)性表達(dá),可謂是中國傳統(tǒng)服飾尤其是明清服飾藝術(shù)的袖珍縮影。本研究以徽州三雕人物形象的服飾造型為主體,意在通過服飾勾繪出當(dāng)時(shí)社會(huì)的政治、經(jīng)濟(jì)、軍事、倫理、審美、宗教、生活風(fēng)俗和社會(huì)思潮等諸多價(jià)值體系,為徽州文化和徽州三雕的研究以及現(xiàn)代時(shí)裝設(shè)計(jì)提供建設(shè)性的參考。 論文所選擇的圖片研究資料主要來自皖南民居建筑、安徽省博物院、徽州文化博物館、合肥源泉博物館和蕪湖徽商博物館。收集的這些徽州人物三雕實(shí)物圖片為本課題的研究提供了直觀的研究資料。除了這些三雕實(shí)物圖片資料外,論文的研究過程中還借鑒了很多服裝文獻(xiàn)史料上的服飾圖片資料,以及古代建筑雕刻研究書籍中相關(guān)的三雕人物圖片,包括小說繡像和專著插圖,這些也成為論文重要的旁證研究資料。對(duì)以上相關(guān)研究資料的整合表明,大多數(shù)現(xiàn)有的研究是在闡述徽州三雕人物故事的同時(shí)略帶人物服飾的介紹。盡管在這些文獻(xiàn)資料中不乏文化大家從全局觀對(duì)中國古典服飾的精辟論述,但以徽州地域?yàn)榍腥朦c(diǎn)的徽州人物三雕服飾文化研究卻沒有系統(tǒng)的資料。所以通過三雕為載體的人物服飾造型研究可以填補(bǔ)徽州文化研究的空白點(diǎn),具有一定的研究價(jià)值。 徽州三雕人物服飾造型包含著龐雜的系統(tǒng)。首先,論文以徽州地域文化作為課題研究的基石,對(duì)其進(jìn)行了系統(tǒng)的概述。分析了徽州三雕人物題材的創(chuàng)作背景和動(dòng)因,即在無形精神儒學(xué)禮教資源的催化下、徽商大賈提供有形物質(zhì)財(cái)富的推動(dòng)下、以及徽州姊妹藝術(shù)——徽州戲曲、徽派版畫形態(tài)的相互融合中出現(xiàn)的。然后概括了三雕人物題材內(nèi)容為服飾的歸類做鋪墊。 其次,論文將它們按照人物性別差異、人物階級(jí)和社會(huì)等級(jí)不同以及在服飾發(fā)展中出現(xiàn)的特殊門類——戲服和宗教服飾,分別進(jìn)行了論述。在對(duì)服飾造型整體梳理后,結(jié)合圖片資料運(yùn)用比較和歸納的方法對(duì)其各類服飾進(jìn)行了分析,并輔以鮮明直觀的自繪人物服飾線稿圖和服飾款式圖方式予以展現(xiàn)。 最后,對(duì)研究的徽州三雕人物服飾做了綜合分析。從人物服飾造型的多元化、文藝化的角度,從傳統(tǒng)服飾審美總體特質(zhì)的呈現(xiàn)以及傳統(tǒng)服飾的特殊分支戲曲服飾的美學(xué)和宗教服飾的神話美學(xué)等多方面來分析了徽州三雕人物服飾的審美特征。旨在最后歸納總結(jié)出基于地域文化的禮俗視野下徽州三雕人物服飾蘊(yùn)涵的服飾文化品格。 論文的研究對(duì)豐富徽州文化和徽州三雕的研究將有一定的幫助,同時(shí)也為服飾文明的傳承與創(chuàng)新提供有益的參考。
[Abstract]:As an exquisite decoration in Huizhou architecture, Huizhou's "three carvings" are skillfully fused with the whole architecture and are one of the important dominant symbols of Huizhou culture. The three carving works with characters as the subject matter, Confucianism as the main body, mixed with folk Buddhism and Taoism, reflect the pursuit of art in Huizhou people's life, and are "living fossils" of Chinese traditional culture. The figure image is the realistic expression of costume art, and it is the miniature of Chinese traditional dress, especially the dress art of Ming and Qing dynasties. The main body of this study is the costume modeling of Huizhou's three carved figures, which is intended to draw out the political, economic, military, ethical, aesthetic, religious, life customs and social trends of value of the society at that time. It provides a constructive reference for the study of Huizhou culture and Huizhou three carvings as well as modern fashion design. The research materials are mainly from the buildings in southern Anhui Province, the Anhui Museum, the Huizhou Cultural Museum, the Hefei Fountainhead Museum and the Wuhu Huizhou Merchants Museum. The collection of these Huizhou figures three-carving object pictures for the study of this subject provides intuitive research materials. In addition to these three sculptures, the paper also draws lessons from many clothing documents and historical materials, as well as the related pictures of the three carving figures in the ancient architectural sculpture research books. Including novel embroidery and monograph illustrations, these also become important circumstantial research materials. The integration of the above research data shows that most of the existing research is to explain the Huizhou three carving characters at the same time with the introduction of character clothing. Although there is no lack of cultural people from the overall view of the Chinese classical clothing exposition, but Huizhou region as the breakthrough point of Huizhou figure SanDiao clothing culture research has no systematic data. Therefore, the research of figure costume modeling based on three carvings can fill the blank spot of Huizhou culture research, and has certain research value. Huizhou three carving figures dress style contains a complex system. First of all, the paper takes Huizhou regional culture as the cornerstone of the research, and gives a systematic overview of it. This paper analyzes the background and motivation of the creation of Huizhou's three carved characters, that is, under the catalysis of intangible spiritual Confucian ethics resources, the Huizhou merchants provide tangible material wealth, and Huizhou's sister art-Huizhou opera. Huizhou print form in the fusion of the emergence. Then summarized the content of the three carving characters for clothing classification. Secondly, according to the gender difference of characters, the class and social class of characters, and the special categories of costume and religious dress that appear in the development of costume, the thesis discusses them respectively. After combing the whole dress modeling, this paper analyzes all kinds of clothing by using the method of comparing and summarizing the picture materials, and presents them with vivid and intuitionistic self-drawing figure dress line draft drawing and dress style drawing method. At last, the article makes a comprehensive analysis of Huizhou's three-carvings' costumes. From the point of view of the diversification and literary style of people's clothing, This paper analyzes the aesthetic characteristics of Huizhou's three carved characters from the aspects of the presentation of the overall aesthetic characteristics of traditional dress, the aesthetics of traditional costume's special branch opera costume and the mythological aesthetics of religious dress. The purpose of this paper is to sum up the dress cultural character of Huizhou's three carved figures in the view of etiquette and custom based on regional culture. The research of this paper will be helpful to enrich Huizhou culture and Huizhou three carvings, and also provide a useful reference for the inheritance and innovation of costume civilization.
【學(xué)位授予單位】：安徽工程大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：TS941.11

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本文編號(hào)：1897821