敦煌壁畫(huà)中的椅子研究
發(fā)布時(shí)間：2018-07-25 09:49
【摘要】：敦煌壁畫(huà)是我國(guó)重要的歷史文化遺跡，記載了自十六國(guó)至元代的佛經(jīng)變相和百姓生活場(chǎng)面。歷經(jīng)十個(gè)朝代，一千多年的悠久歷史，展示了我國(guó)中古時(shí)期廣闊的經(jīng)濟(jì)文化、科學(xué)技術(shù)等社會(huì)生活場(chǎng)景，反映了大量的民間藝術(shù)流傳及演變。同時(shí)，敦煌壁畫(huà)還涉及到了河西走廊、南亞印度、西亞波斯甚至希臘羅馬等地的文化影響，佛教、道教等宗教信仰在敦煌匯合，形成了各地文化交融的空前盛世。佛教?hào)|漸影響到了家居坐具的發(fā)展，由低坐家具向高坐家具演變，以椅子為代表的興起與發(fā)展為鑒證，同時(shí)促進(jìn)了其他家具類別由低坐走向高坐，空間布局環(huán)境也隨之發(fā)生變化。 敦煌壁畫(huà)涵蓋了眾多的藝術(shù)設(shè)計(jì)觀念和哲學(xué)思想，本文通過(guò)對(duì)敦煌壁畫(huà)中出現(xiàn)的椅子為個(gè)案來(lái)闡述椅子的發(fā)展歷程以及對(duì)現(xiàn)代椅子和西方椅子設(shè)計(jì)的影響。同時(shí)，從壁畫(huà)中的椅子造型、材質(zhì)、裝飾特點(diǎn)等元素進(jìn)行了解析。由于人們對(duì)外來(lái)事物的接受程度十分廣泛，椅子伴隨著佛教傳入中原，作為高型坐具時(shí)時(shí)刻刻地影響著人們的日常起居生活，導(dǎo)致人們坐姿習(xí)慣產(chǎn)生了巨大變化。椅子的發(fā)展折射出了百姓的思想改變，從而不再坐井觀天，打開(kāi)大門(mén)迎接外來(lái)的藝術(shù)文化和宗教信仰，成就了我國(guó)政治經(jīng)濟(jì)和社會(huì)生產(chǎn)力的盛世繁華。 對(duì)于壁畫(huà)中椅子的分析，不僅是為了追根溯源強(qiáng)調(diào)傳統(tǒng)思想和敦煌文化的重要性，更是為了讓設(shè)計(jì)者們不要迷失在一味地吸收西方設(shè)計(jì)思想里，堅(jiān)持本國(guó)傳統(tǒng)文化特色的前提下融入西方觀念，揚(yáng)長(zhǎng)避短、取其精華、加以創(chuàng)新，進(jìn)而擁有自己的設(shè)計(jì)思想和獨(dú)特的設(shè)計(jì)理念。中國(guó)現(xiàn)代椅子的發(fā)展不能一味地繼承或是一味地抄襲，應(yīng)該脫離在技術(shù)上和外觀上的過(guò)分追求，適當(dāng)注重設(shè)計(jì)的內(nèi)在和“天人合一”的傳統(tǒng)思想，將椅子設(shè)計(jì)與自然壞境、生態(tài)文化有機(jī)地結(jié)合在一起，，和諧共進(jìn)。
[Abstract]:Dunhuang frescoes are important historical and cultural relics in China, recording the disguised Buddhist scriptures and the living scenes of the people from the sixteenth country to the Yuan Dynasty. After ten dynasties and more than one thousand years of history, it shows the broad economic and cultural, science and technology and other social life scenes in the middle ancient period of our country, and reflects the spread and evolution of a large number of folk art. At the same time, Dunhuang frescoes also related to the cultural influence of Hexi Corridor, South Asia India, Western Persia and even Greece and Rome, Buddhism, Taoism and other religious beliefs converged in Dunhuang, forming an unprecedented era of cultural integration. Buddhism gradually affected the development of household furniture, from low-seated furniture to high-sitting furniture. The rise and development of chairs as the representative of the furniture as evidence, while promoting other types of furniture from low to high. The spatial layout environment also changes with it. Dunhuang mural paintings cover many ideas of art and design and philosophy. This paper expounds the development of chairs and their influence on modern chairs and western chairs by taking the chairs in Dunhuang murals as a case study. At the same time, from the mural chair modeling, material, decorative features and other elements were analyzed. As people's acceptance of foreign things is very extensive, chairs are introduced into Central Plains with Buddhism. As a high type of sitting equipment, it affects people's daily living life and results in great changes in people's sitting habits. The development of chairs reflects the change of people's thinking, so they no longer sit idly by, open the door to welcome foreign art, culture and religious beliefs, and make the prosperity of our country's political economy and social productive forces. The analysis of the chairs in the murals is not only to trace back to the source and emphasize the importance of traditional thinking and Dunhuang culture, but also to let designers not get lost in absorbing Western design ideas. Adhere to the premise of the traditional cultural characteristics of our country into the Western concept, take advantage of its essence, innovation, and then have their own design ideas and unique design ideas. The development of modern Chinese chairs should not blindly inherit or copy blindly, should be divorced from the excessive pursuit of technology and appearance, pay due attention to the internal design and the traditional idea of "the unity of nature and man", and combine the chair design with the natural environment. Ecological culture organically combines together, harmoniously advances together.
【學(xué)位授予單位】：南京林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：K879.41
[Abstract]:Dunhuang frescoes are important historical and cultural relics in China, recording the disguised Buddhist scriptures and the living scenes of the people from the sixteenth country to the Yuan Dynasty. After ten dynasties and more than one thousand years of history, it shows the broad economic and cultural, science and technology and other social life scenes in the middle ancient period of our country, and reflects the spread and evolution of a large number of folk art. At the same time, Dunhuang frescoes also related to the cultural influence of Hexi Corridor, South Asia India, Western Persia and even Greece and Rome, Buddhism, Taoism and other religious beliefs converged in Dunhuang, forming an unprecedented era of cultural integration. Buddhism gradually affected the development of household furniture, from low-seated furniture to high-sitting furniture. The rise and development of chairs as the representative of the furniture as evidence, while promoting other types of furniture from low to high. The spatial layout environment also changes with it. Dunhuang mural paintings cover many ideas of art and design and philosophy. This paper expounds the development of chairs and their influence on modern chairs and western chairs by taking the chairs in Dunhuang murals as a case study. At the same time, from the mural chair modeling, material, decorative features and other elements were analyzed. As people's acceptance of foreign things is very extensive, chairs are introduced into Central Plains with Buddhism. As a high type of sitting equipment, it affects people's daily living life and results in great changes in people's sitting habits. The development of chairs reflects the change of people's thinking, so they no longer sit idly by, open the door to welcome foreign art, culture and religious beliefs, and make the prosperity of our country's political economy and social productive forces. The analysis of the chairs in the murals is not only to trace back to the source and emphasize the importance of traditional thinking and Dunhuang culture, but also to let designers not get lost in absorbing Western design ideas. Adhere to the premise of the traditional cultural characteristics of our country into the Western concept, take advantage of its essence, innovation, and then have their own design ideas and unique design ideas. The development of modern Chinese chairs should not blindly inherit or copy blindly, should be divorced from the excessive pursuit of technology and appearance, pay due attention to the internal design and the traditional idea of "the unity of nature and man", and combine the chair design with the natural environment. Ecological culture organically combines together, harmoniously advances together.
【學(xué)位授予單位】：南京林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：K879.41
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