本文關(guān)鍵詞： 徐州 漢文化 裝飾藝術(shù) 建筑　出處：《南京林業(yè)大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：徐州古稱彭城,是漢高祖劉邦的故鄉(xiāng),是國(guó)家級(jí)歷史文化名城。作為漢王朝的發(fā)祥地,徐州對(duì)漢文化的形成和發(fā)展做出了積極貢獻(xiàn)。彭城先后成為13代楚王和5代彭城王的都城,給后人留下了十幾座規(guī)模宏大、形制奇特、埋藏豐富的王陵墓葬,出土了大批珍貴文物,為今人勾勒兩漢經(jīng)濟(jì)、政治、軍事、文化和社會(huì)生活的歷史輪廓提供了重要實(shí)物資料,也使徐州成為兩漢文化研究中心之一。徐州的文物資源十分豐富,曾有人把徐州漢畫像石與蘇州園林、南京六朝石刻并稱為“江蘇三寶”。近年也有“明清看北京、秦唐看西安、兩漢看徐州”之說。徐州的漢墓、漢兵馬俑、漢畫像石被稱為“漢代三絕”。 本文通過分析徐州漢文化歷史概況,探討漢文化裝飾藝術(shù)產(chǎn)生的政治、經(jīng)濟(jì)、文化背景；從漢代墓葬、漢兵馬俑、漢畫像石等方面總結(jié)了徐州兩漢文化裝飾藝術(shù)發(fā)展進(jìn)程；對(duì)徐州兩漢文化裝飾藝術(shù)的特征進(jìn)行了分析歸納；最后提出徐州兩漢文化裝飾藝術(shù)的傳承與創(chuàng)新。依據(jù)已發(fā)表的資料和考古工作者的研究成果,擬從裝飾藝術(shù)的角度對(duì)徐州地區(qū)的漢墓、漢兵馬俑、漢畫像石作綜合性的論述,并提出一些新的認(rèn)識(shí),以期顯示徐州地區(qū)兩漢時(shí)期的高度發(fā)展水平。汲取其中的文化精髓,以啟迪和發(fā)展現(xiàn)代裝飾藝術(shù)思維。 著眼于漢文化精神的回歸與文化認(rèn)同,從地域建筑藝術(shù)、建筑文化構(gòu)成要素的綜合比較研究中捕捉徐州漢代建筑傳達(dá)的極為豐富的、強(qiáng)烈的、地域的、歷史的、文化的、民族的藝術(shù)情感和文化信息。同時(shí),結(jié)合當(dāng)今建筑設(shè)計(jì)藝術(shù)發(fā)展的現(xiàn)狀及其發(fā)展趨勢(shì),把漢文化裝飾藝術(shù)的精華充分運(yùn)用到當(dāng)代建筑藝術(shù)設(shè)計(jì)中,使?jié)h文化裝飾藝術(shù)與現(xiàn)代建筑藝術(shù)實(shí)現(xiàn)完美融合。
[Abstract]:Xuzhou was called Pengcheng in ancient times. It was the hometown of Liu Bang, the ancestor of Han Dynasty, and a famous historical and cultural city at the national level. It was the birthplace of the Han Dynasty. Xuzhou made a positive contribution to the formation and development of Han culture. Pengcheng became the capital of 13 and 5 generations of King Pengcheng, leaving more than a dozen tombs with large scale, peculiar shape and rich burial. A large number of precious cultural relics were unearthed, which provided important material material for the historical outline of the economic, political, military, cultural and social life of the Han Dynasty, and also made Xuzhou one of the cultural research centers of the Han Dynasty. Some people used to call the stone sculptures of the Han Dynasty in Xuzhou and the gardens of Suzhou, and the stone carvings of the six dynasties in Nanjing as "three treasures of Jiangsu Province." in recent years, there has also been a theory that "the Ming and Qing dynasties see Beijing, the Qin and Tang dynasties see Xi'an, and the Han Dynasty see Xuzhou." the Han tombs of Xuzhou, the terracotta figures of the Han Dynasty, The stone portrait of the Han Dynasty is called the "three absolute in the Han Dynasty". By analyzing the history of Han culture in Xuzhou, this paper probes into the political, economic and cultural background in which the decorative arts of Han culture came into being, and sums up the development process of decorative arts of Han culture in Xuzhou from the aspects of tombs, terracotta warriors, stone sculptures and so on. This paper analyzes and summarizes the characteristics of the decorative arts of the Han Dynasty in Xuzhou, and finally puts forward the inheritance and innovation of the decorative arts of the Han Dynasty in Xuzhou. According to the published materials and the research results of the archaeologists, From the angle of decorative art, this paper makes a comprehensive discussion on the Han tombs, horses and terracotta warriors and stone sculptures in Xuzhou area, and puts forward some new understandings in order to show the high level of development of the Han Dynasty in Xuzhou area. Enlighten and develop modern decorative art thinking. Focusing on the return of the spirit of Chinese culture and cultural identity, from the comprehensive comparative study of regional architectural art and elements of architectural culture, it captures the extremely rich, strong, regional, historical and cultural elements conveyed by the architecture of Xuzhou in the Han Dynasty. At the same time, combined with the present situation and development trend of architectural design art, the essence of Han culture decorative art is fully applied to contemporary architectural art design. To make the Han culture decorative art and modern architectural art to achieve a perfect fusion.
【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】：2011
【分類號(hào)】：K878.8

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