山東漢畫(huà)像石裝飾風(fēng)格在現(xiàn)代環(huán)境設(shè)計(jì)中的傳承與創(chuàng)新研究
發(fā)布時(shí)間：2018-07-13 10:44
【摘要】：秦漢時(shí)期在中國(guó)藝術(shù)史上是一個(gè)重要的分水嶺,漢代畫(huà)像石藝術(shù)猶如曇花一現(xiàn),存在的時(shí)間很短。但是全國(guó)很多地區(qū)如河南、山東、陜西、四川都有這種藝術(shù)遺存存在,并且一直影響到現(xiàn)代。 山東省作為魯文化的發(fā)源地,也是我國(guó)漢畫(huà)像石遺存較多的地區(qū)之一,漢代的青州刺史部、兗州刺史部、彭城國(guó)是黃河下游畫(huà)像石的主要分布地,絕大多數(shù)遍布于今山東省境內(nèi),可以說(shuō)山東各地都有發(fā)現(xiàn)。現(xiàn)代考古發(fā)掘和重點(diǎn)保護(hù)的山東漢畫(huà)像石分布點(diǎn)就多達(dá)100多處,如濟(jì)南長(zhǎng)清孝堂山祠堂、濟(jì)寧嘉祥武氏祠、蒼山漢墓等聞名中外。這些遺存地下不僅有裝飾豪華的畫(huà)像石墓,地上還有雕刻精美的畫(huà)像石祠和畫(huà)像石闕,題材內(nèi)容包羅萬(wàn)象,技法嫻熟老練,墓葬規(guī)模宏大,藝術(shù)水平很高。更重要的是：畫(huà)像石藝術(shù)的傳統(tǒng)工藝背后蘊(yùn)含著漢人的宇宙觀、美學(xué)價(jià)值觀、審美情趣等深層文化內(nèi)涵,值得我們深入研究和保護(hù)傳承。 目前山東漢畫(huà)像石藝術(shù)研究已經(jīng)形成了一定的規(guī)模,內(nèi)容涉及歷史學(xué)、考古學(xué)、文學(xué)、建筑學(xué)等諸多方面�？v觀既有的研究成果,在考古、建筑等方面的成績(jī)較為顯著,而從設(shè)計(jì)、文化角度的研究略顯不足,從環(huán)境藝術(shù)設(shè)計(jì)的角度來(lái)解讀漢代畫(huà)像石藝術(shù)的幾乎沒(méi)有。本文嘗試發(fā)掘山東漢代畫(huà)像石藝術(shù)所蘊(yùn)含的文化內(nèi)涵,觸摸歷史,感受先人的構(gòu)思與創(chuàng)造,探究山東漢畫(huà)像石藝術(shù)在精神上對(duì)人的信念與理想的追求；在表現(xiàn)手法上的不拘一格,在審美情趣與意蘊(yùn)凝練上的單純質(zhì)樸等藝術(shù)特征,闡釋了其對(duì)中國(guó)環(huán)境藝術(shù)設(shè)計(jì)的影響。 本文主要分為以下兒個(gè)部分： 第一章：提出了課題研究的背景、研究動(dòng)機(jī)及目的,對(duì)研究的意義、內(nèi)容和方法進(jìn)行了簡(jiǎn)要的闡述。 第二章：主要是對(duì)山東地區(qū)漢畫(huà)像石藝術(shù)產(chǎn)生的背景進(jìn)行簡(jiǎn)要闡述,總結(jié)山東漢畫(huà)像石的藝術(shù)特點(diǎn),闡明漢畫(huà)像石藝術(shù)與漢文化的關(guān)系,將漢畫(huà)像石藝術(shù)同歷史發(fā)展相聯(lián)系相結(jié)合,為引出下文做鋪墊。 第三章：論述了漢畫(huà)像石藝術(shù)在徐州等地的發(fā)展現(xiàn)狀,指出漢畫(huà)像石藝術(shù)在現(xiàn)代環(huán)境藝術(shù)設(shè)計(jì)中發(fā)展及傳承的可行性。 第四章：在前文的理論基礎(chǔ)下,具體分析山東漢代畫(huà)像石設(shè)計(jì)藝術(shù)語(yǔ)言的構(gòu)成,指出在城市景觀、室內(nèi)界面等方面的應(yīng)用,闡述了山東漢畫(huà)像石藝術(shù)在新時(shí)代的新意義。 第五章為本論文的結(jié)論部分,指出發(fā)掘和弘揚(yáng)漢代藝術(shù)精神的必要性。 本文寫(xiě)作的目的旨在通過(guò)系統(tǒng)的研究,提出對(duì)漢代畫(huà)像石藝術(shù)在現(xiàn)代環(huán)境設(shè)計(jì)中的看法和思路,竭力挖掘其現(xiàn)代意義,增進(jìn)現(xiàn)代人對(duì)漢代文化精神和藝術(shù)精神的理解,傳承和發(fā)揚(yáng)我們燦爛優(yōu)秀的傳統(tǒng)文化,使其藝術(shù)魅力長(zhǎng)存。
[Abstract]:Qin and Han dynasties are an important watershed in the history of Chinese art. But many parts of the country, such as Henan, Shandong, Shaanxi, Sichuan, there are such art remains, and has affected the modern. Shandong Province, as the birthplace of Lu culture, is also one of the areas where the Han stone reliefs have been left. In the Han Dynasty, the department of the history of Qingzhou thorns, the department of Yanzhou thorns, the Pengcheng state are the main distribution areas of the lower reaches of the Yellow River. The vast majority of the territory of Shandong Province, can be said to have found all over Shandong. Modern archaeological excavations and key protection of Shandong Han Dynasty stone distribution sites as many as more than 100, such as Jinan Changqing Xiaotang ancestral Hall, Jining Jiaxiang Wushi Temple, Cangshan Han Tomb and so on. These remains underground not only have decorated luxurious portrait stone tomb, but also have carved stone statue hall and stone que on the ground, the subject matter content is all over the world, the technique is skillful, the grave scale is big, the art level is very high. More importantly: behind the traditional craftsmanship of stone relief art contains the deep cultural connotations of Han people such as cosmology, aesthetic values, aesthetic tastes, etc., which is worthy of our in-depth study and protection. At present, the study of stone relief in Shandong Han Dynasty has formed a certain scale, including history, archaeology, literature, architecture and so on. Throughout the existing research results, in archaeology, architecture and other aspects of the achievements are relatively significant, but from the design, cultural perspective of the research is slightly inadequate, from the perspective of environmental art design to interpret the Han Dynasty stone art almost nothing. This paper tries to explore the cultural connotation of the stone relief art in the Han Dynasty of Shandong Province, touch the history, feel the conception and creation of the ancestors, and explore the spiritual pursuit of the belief and ideal of the stone relief art in Shandong Han Dynasty. The influence on Chinese environmental art design is explained by its artistic characteristics, such as its unreserved style of expression, simple simplicity in aesthetic taste and condensed meaning. This paper is divided into the following parts: the first chapter: the research background, research motivation and purpose, the significance, content and methods of the research are briefly described. The second chapter is mainly about the background of the Han stone relief art in Shandong region, summarizes the artistic characteristics of Shandong Han stone relief art, and clarifies the relationship between the Han stone portrait art and the Han culture. The art of stone relief in the Han Dynasty is combined with the historical development to pave the way for the following. The third chapter discusses the development status of Han stone relief art in Xuzhou and points out the feasibility of developing and inheriting Han stone relief art in modern environmental art design. Chapter four: on the basis of the previous theory, the author analyzes the composition of the artistic language of stone relief design in Shandong Han Dynasty, points out the application in urban landscape and interior interface, and expounds the new significance of the stone relief art in Shandong Han Dynasty in the new era. The fifth chapter is the conclusion of this paper, pointing out the necessity of exploring and carrying forward the artistic spirit of Han Dynasty. The purpose of this paper is to put forward the views and ideas of stone relief art in the modern environment design of Han Dynasty through systematic research, and to make every effort to excavate its modern significance, and to promote the understanding of the cultural spirit and artistic spirit of the Han Dynasty. Inherits and develops our splendid outstanding traditional culture, causes its artistic charm to perpetuate.
【學(xué)位授予單位】：山東建筑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：K879.4
本文編號(hào)：2119089
[Abstract]:Qin and Han dynasties are an important watershed in the history of Chinese art. But many parts of the country, such as Henan, Shandong, Shaanxi, Sichuan, there are such art remains, and has affected the modern. Shandong Province, as the birthplace of Lu culture, is also one of the areas where the Han stone reliefs have been left. In the Han Dynasty, the department of the history of Qingzhou thorns, the department of Yanzhou thorns, the Pengcheng state are the main distribution areas of the lower reaches of the Yellow River. The vast majority of the territory of Shandong Province, can be said to have found all over Shandong. Modern archaeological excavations and key protection of Shandong Han Dynasty stone distribution sites as many as more than 100, such as Jinan Changqing Xiaotang ancestral Hall, Jining Jiaxiang Wushi Temple, Cangshan Han Tomb and so on. These remains underground not only have decorated luxurious portrait stone tomb, but also have carved stone statue hall and stone que on the ground, the subject matter content is all over the world, the technique is skillful, the grave scale is big, the art level is very high. More importantly: behind the traditional craftsmanship of stone relief art contains the deep cultural connotations of Han people such as cosmology, aesthetic values, aesthetic tastes, etc., which is worthy of our in-depth study and protection. At present, the study of stone relief in Shandong Han Dynasty has formed a certain scale, including history, archaeology, literature, architecture and so on. Throughout the existing research results, in archaeology, architecture and other aspects of the achievements are relatively significant, but from the design, cultural perspective of the research is slightly inadequate, from the perspective of environmental art design to interpret the Han Dynasty stone art almost nothing. This paper tries to explore the cultural connotation of the stone relief art in the Han Dynasty of Shandong Province, touch the history, feel the conception and creation of the ancestors, and explore the spiritual pursuit of the belief and ideal of the stone relief art in Shandong Han Dynasty. The influence on Chinese environmental art design is explained by its artistic characteristics, such as its unreserved style of expression, simple simplicity in aesthetic taste and condensed meaning. This paper is divided into the following parts: the first chapter: the research background, research motivation and purpose, the significance, content and methods of the research are briefly described. The second chapter is mainly about the background of the Han stone relief art in Shandong region, summarizes the artistic characteristics of Shandong Han stone relief art, and clarifies the relationship between the Han stone portrait art and the Han culture. The art of stone relief in the Han Dynasty is combined with the historical development to pave the way for the following. The third chapter discusses the development status of Han stone relief art in Xuzhou and points out the feasibility of developing and inheriting Han stone relief art in modern environmental art design. Chapter four: on the basis of the previous theory, the author analyzes the composition of the artistic language of stone relief design in Shandong Han Dynasty, points out the application in urban landscape and interior interface, and expounds the new significance of the stone relief art in Shandong Han Dynasty in the new era. The fifth chapter is the conclusion of this paper, pointing out the necessity of exploring and carrying forward the artistic spirit of Han Dynasty. The purpose of this paper is to put forward the views and ideas of stone relief art in the modern environment design of Han Dynasty through systematic research, and to make every effort to excavate its modern significance, and to promote the understanding of the cultural spirit and artistic spirit of the Han Dynasty. Inherits and develops our splendid outstanding traditional culture, causes its artistic charm to perpetuate.
【學(xué)位授予單位】：山東建筑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：K879.4
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 劉太祥;漢代畫(huà)像石研究綜述[J];南都學(xué)壇;2002年03期
2 周保平;對(duì)漢畫(huà)像石研究的幾點(diǎn)看法[J];東南文化;2001年05期
，本文編號(hào)：2119089
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