本文選題：新中式　切入點(diǎn)：陳設(shè)藝術(shù)　出處：《山東工藝美術(shù)學(xué)院》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：論文由中國(guó)傳統(tǒng)文化和傳統(tǒng)美學(xué)思想入手，分析了新中式空間陳設(shè)藝術(shù)設(shè)計(jì)產(chǎn)生的文化淵源，提出了“新”的概念。同時(shí)研究了新中式空間陳設(shè)藝術(shù)設(shè)計(jì)的理論基礎(chǔ)，深入探索了它與傳統(tǒng)人文因素的內(nèi)在關(guān)系和表現(xiàn)形式。目的是建立符合現(xiàn)代審美的“新”中式空間陳設(shè)藝術(shù)設(shè)計(jì)的理論體系，不僅揚(yáng)棄了中國(guó)傳統(tǒng)文化，也試圖給現(xiàn)代風(fēng)格陳設(shè)藝術(shù)和傳統(tǒng)中式風(fēng)格的陳設(shè)藝術(shù)提供相關(guān)的參考。對(duì)“新”概念的提出及文化背景做了淺析，對(duì)“新”的含義理解的基礎(chǔ)上，創(chuàng)造了把傳統(tǒng)人文因素的傳統(tǒng)哲學(xué)思想和傳統(tǒng)心理美學(xué)與現(xiàn)代空間融合的新中式空間陳設(shè)藝術(shù)設(shè)計(jì)形式，并分析新中式風(fēng)格在陳設(shè)藝術(shù)設(shè)計(jì)的表現(xiàn)形式。主要采用觀察法、文獻(xiàn)調(diào)研法、經(jīng)驗(yàn)總結(jié)法、定性分析法、跨學(xué)科研究法進(jìn)行研究。通過(guò)理論分析與實(shí)際案例相結(jié)合，從傳統(tǒng)人文因素和美學(xué)觀念以及傳統(tǒng)中式風(fēng)格室內(nèi)設(shè)計(jì)和陳設(shè)設(shè)計(jì)的研究著手研究，探討它們的相互的內(nèi)在邏輯關(guān)系以及表現(xiàn)形式和實(shí)際應(yīng)用。在“新”中式空間陳設(shè)藝術(shù)設(shè)計(jì)與傳統(tǒng)人文因素的內(nèi)在關(guān)系的研究上，傳統(tǒng)人文因素對(duì)新中式風(fēng)格產(chǎn)生了基礎(chǔ)性的作用。從人文的角度來(lái)講，陳設(shè)品除了其使用功能和觀賞功能之外還被設(shè)計(jì)師和使用者們賦予了一定的精神內(nèi)涵和人文屬性。陳設(shè)藝術(shù)可以豐富空間的文化內(nèi)涵；地域文化和民族特色也在陳設(shè)藝術(shù)中受到重視；可持續(xù)發(fā)展的“共贏”系統(tǒng)也使新中式空間陳設(shè)藝術(shù)設(shè)計(jì)走向一條人、自然和社會(huì)協(xié)調(diào)整體的生態(tài)系統(tǒng)。傳統(tǒng)元素的使用、傳統(tǒng)原理的借鑒和應(yīng)用、陳設(shè)空間不同場(chǎng)所功能的布置等方面是新中式空間陳設(shè)藝術(shù)設(shè)計(jì)的表現(xiàn)形式，最終創(chuàng)造一個(gè)具有傳統(tǒng)詩(shī)情畫(huà)意的意境美的空間，，做到陳設(shè)品與裝飾構(gòu)件不僅滿足使用功能和裝飾美學(xué)的要求，在統(tǒng)一室內(nèi)風(fēng)格的整體上，各個(gè)元素之間也要互相協(xié)調(diào)，不能相悖于空間整體。遵循傳統(tǒng)設(shè)計(jì)原則并把創(chuàng)新設(shè)計(jì)與傳統(tǒng)思想進(jìn)行互補(bǔ)是新中式空間陳設(shè)藝術(shù)設(shè)計(jì)的理論基礎(chǔ)。堅(jiān)持適中、和諧、統(tǒng)一、實(shí)用、以人為本的思想。新中式空間陳設(shè)藝術(shù)設(shè)計(jì)要與時(shí)代的脈搏相融，注重時(shí)代的新需求和新發(fā)展方向。生態(tài)的設(shè)計(jì)理念是促進(jìn)人、人居環(huán)境、自然與設(shè)計(jì)和諧統(tǒng)一發(fā)展是必不可少的重要方面；以服務(wù)為核心的設(shè)計(jì)形式正在萌芽發(fā)展，它主張?jiān)O(shè)計(jì)不應(yīng)被特定的技術(shù)和材料束縛，應(yīng)提供更深層次的服務(wù)設(shè)計(jì)，追求以最少的資源損耗和物質(zhì)產(chǎn)出保證大家的生活質(zhì)量，最終達(dá)到可持續(xù)發(fā)展的目的。這一點(diǎn)與傳統(tǒng)文化中道家的哲學(xué)思想相契合。本文也列舉了一些實(shí)例來(lái)解說(shuō)分析，直觀有力的驗(yàn)證章節(jié)的論點(diǎn)和研究成果。
[Abstract]:Starting with Chinese traditional culture and traditional aesthetic thought, this paper analyzes the cultural origin of the new Chinese space display art design, puts forward the concept of "new", and studies the theoretical basis of the new Chinese space display art design. This paper probes deeply into its internal relationship with traditional humanistic factors and its forms of expression, the purpose of which is to establish a theoretical system of "new" Chinese space display art design, which conforms to the modern aesthetics, and not only to sublate the traditional Chinese culture, but also to put aside the traditional Chinese culture. It also tries to provide relevant reference for modern style display art and traditional Chinese style display art. It also analyzes the concept of "new" and its cultural background, on the basis of understanding the meaning of "new". Has created the new Chinese space display artistic design form which combines the traditional humanistic factor traditional philosophy thought and the traditional psychology esthetics with the modern space, and analyzes the new Chinese style in the display art design expression form. Literature research method, experience summary method, qualitative analysis method, interdisciplinary research method. Through theoretical analysis and practical cases, From the traditional humanistic factors and aesthetic concepts, as well as the traditional Chinese style interior design and furnishings design research, This paper probes into their internal logical relations, their forms of expression and their practical applications. In the study of the inherent relationship between the artistic design of the "new" Chinese space furnishings and the traditional humanistic factors, Traditional humanistic factors play a fundamental role in the new Chinese style. From a humanistic point of view, In addition to its use and viewing functions, the furnishings are endowed by designers and users with certain spiritual connotations and humanistic attributes, which can enrich the cultural connotations of space. Regional culture and national characteristics have also been attached importance to in the display art; the "win-win" system of sustainable development has also made the art design of new Chinese space display move towards an ecosystem of human, natural and social harmony, and the use of traditional elements. Using the traditional principle for reference and application, the layout of the different functions of the display space is the expression form of the new Chinese style space display art design, and finally creates a space with traditional poetic and picturesque beauty of artistic conception. To ensure that furnishings and decorative components not only meet the requirements of use functions and decorative aesthetics, but also coordinate with each other in the unity of indoor style. Following the traditional design principle and complementing the creative design with the traditional thought is the theoretical basis of the new Chinese space display art design. The new Chinese space display art design should be in harmony with the pulse of the times, pay attention to the new needs and new development direction of the times. The harmonious and unified development of nature and design is an essential and important aspect. The design form with service as the core is springing up and developing. It argues that design should not be bound by specific technology and materials, but should provide deeper service design. The pursuit of ensuring the quality of life with the least loss of resources and material output, and finally achieving the goal of sustainable development, is in line with the philosophy of Taoism in the traditional culture. This paper also lists some examples to explain and analyze. Intuitively and forcefully verify the chapter's arguments and research results.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：TU238.2

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本文編號(hào)：1650094