本文選題：元明　切入點(diǎn)：工藝美術(shù)風(fēng)格　出處：《復(fù)旦大學(xué)》2011年博士論文　論文類型：學(xué)位論文

【摘要】：本文旨在探討自元代到明代工藝美學(xué)風(fēng)格的發(fā)展?fàn)顩r。文章以工藝美術(shù)品的圖案、色彩和造型作為主要分析內(nèi)容,并根據(jù)典型性、影響性和延續(xù)性的原則,選擇青花瓷、漆器和明式家具作為代表性器物,并結(jié)合其他工藝品種,運(yùn)用二重證據(jù)法、比較法和圖像學(xué)等方法,探索在元明時(shí)期的不同時(shí)段內(nèi),器物藝術(shù)特征的流傳、演變情況及其背后的成因。 論文分為元代、明代早中期和明代晚期三個(gè)時(shí)段：元代以元青花和漆器為代表,該時(shí)期工藝美術(shù)風(fēng)格呈現(xiàn)出多元并存、斑斕駁雜的面貌,既有因外來品種傳入而帶來的異域情調(diào),又有宋代審美旨趣的沿續(xù),還有多元文化融匯下器物藝術(shù)的新風(fēng)尚。第二時(shí)段明代早中期工藝美術(shù)將以青花瓷作為主線,探索明代在繼承元代工藝成就的基礎(chǔ)上,如何傳承與恢復(fù)唐宋傳統(tǒng)美學(xué)風(fēng)范的歷程；從風(fēng)格演變上來看,先后經(jīng)歷了前期宮廷工藝美術(shù)的規(guī)整化和中期工藝美術(shù)的世俗化。明代晚期在文人的積極影響和參與下,工藝美術(shù)的文人趣味得以確立與流行,以青花瓷和明式家具為代表的晚明工藝美術(shù),體現(xiàn)出對簡潔、自然、古雅、含蓄和抒情性的追求,充分反映了對宋代審美旨趣的復(fù)歸。因此,元明時(shí)期工藝美術(shù)風(fēng)格流變的歷程,無疑展示出元代工藝風(fēng)貌如何在宋代基礎(chǔ)上發(fā)生重大轉(zhuǎn)折,又如何在明代逐漸與中國傳統(tǒng)美學(xué)范式相結(jié)合,并在新時(shí)代呈現(xiàn)出新的特色,最終再次回歸宋代審美旨趣的漫長而復(fù)雜的歷程。本文在梳理這一歷程的同時(shí),也注重對造成風(fēng)格演變的原因與背景進(jìn)行探討。
[Abstract]:The purpose of this paper is to discuss the development of craftsmanship aesthetic style from Yuan Dynasty to Ming Dynasty. The article mainly analyzes the patterns, colors and shapes of arts and crafts, and selects blue and white porcelain according to the principles of typicality, influence and continuity. Lacquer ware and Ming furniture as representative objects, combined with other craft varieties, the double evidence method, comparative method and image science were used to explore the circulation of the artistic features of the objects in different periods of the Yuan and Ming dynasties. Evolution and the causes behind it. The thesis is divided into three periods: the Yuan Dynasty, the early and middle Ming Dynasty and the late Ming Dynasty: the Yuan Dynasty is represented by the Yuan Blue and Blue Flower and lacquer ware. There is not only the exotic atmosphere brought by the introduction of foreign varieties, but also the continuation of the aesthetic purport of the Song Dynasty, as well as the new trend of the arts and crafts in the early and middle Ming Dynasty, which will be the main line of the arts and crafts of the early and middle Ming Dynasty. On the basis of inheriting the technological achievements of the Yuan Dynasty, this paper explores how to inherit and restore the traditional aesthetic style of the Tang and Song dynasties. It has experienced the regularization of arts and crafts in the early court and the secularization of arts and crafts in the middle. In the late Ming Dynasty, with the active influence and participation of the literati, the taste of the literati in the arts and crafts was established and popular. The late Ming arts and crafts, represented by blue and white porcelain and Ming style furniture, reflected the pursuit of simplicity, nature, elegance, implicature and lyricism, which fully reflected the restoration of aesthetic purport of the Song Dynasty. The evolution of arts and crafts styles in the Yuan and Ming dynasties undoubtedly shows how the style and features of the Yuan Dynasty took a significant turn on the basis of the Song Dynasty, and how it gradually combined with the traditional Chinese aesthetic paradigm in the Ming Dynasty, and presented new features in the new era. Finally, it returns to the long and complex process of aesthetic purport of Song Dynasty. While combing this process, this paper also pays attention to the causes and background of the evolution of style.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2011
【分類號】：K876.3

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