【摘要】： 明式家具作為中國(guó)傳統(tǒng)物質(zhì)文化中的一個(gè)重要組成部分,不僅僅是古代家居生活的一個(gè)重要組成部分,也是傳統(tǒng)精神文化物化的產(chǎn)物。以明式家具為代表的中國(guó)傳統(tǒng)家具文化,一方面反映出家具制造技術(shù)的不斷進(jìn)步,另一方面通過(guò)這種家具折射出一種文化,一種極具中國(guó)藝術(shù)特色的文化。佛、禪從傳入之時(shí)起就在與中國(guó)本土的文化、思想、藝術(shù)精神等不斷地“化合”,在中國(guó)化、美學(xué)化的過(guò)程中不斷地豐富了中國(guó)的傳統(tǒng)文化,對(duì)中國(guó)藝術(shù)精神的動(dòng)態(tài)建構(gòu)和各門具體藝術(shù)形式都產(chǎn)生了重大而深遠(yuǎn)的影響。以文人士大夫?yàn)榧~帶,以禪意的普遍性、靈活性、粘合性為基本出發(fā)點(diǎn),將雖是出自工匠之手的明式家具呈現(xiàn)出特定的文化精神現(xiàn)象,從而把家具中透露出來(lái)的精神意義又指回了禪意之中,將禪意、文人、工匠、家具相連,使得整個(gè)過(guò)程呈現(xiàn)出有如佛家“圓通”式循環(huán)的特點(diǎn)。 本論文主要對(duì)明式家具及其造型藝術(shù)中蘊(yùn)涵的禪意進(jìn)行論述,目的是進(jìn)一步探討明式家具中深蘊(yùn)的文化、藝術(shù)內(nèi)涵。全文主要分為三大部分: 第一部分,主要介紹明式家具的基本發(fā)展脈絡(luò),包括明式家具的概念、種類以及造型的基本特點(diǎn)分析。 第二部分,對(duì)禪意進(jìn)行基本表述,并通過(guò)對(duì)禪意在其發(fā)展演變過(guò)程中表現(xiàn)出來(lái)的三個(gè)基本特點(diǎn)的分析,將禪意與明式家具之間的內(nèi)在關(guān)系進(jìn)行合理定位。確定了禪意、文人、工匠、明式家具四者之間的組織關(guān)系結(jié)構(gòu)圖,明確了文人士大夫在明式家具造型藝術(shù)的禪之意境中的重要地位,為文章第三部分的論述做了鋪墊。 第三部分,作為論文的主要部分,首先對(duì)明式家具中禪意形成的語(yǔ)境進(jìn)行闡述,包括特定的歷史與文化語(yǔ)境的分析。其次,通過(guò)“禪的氛圍”、“尚空”、“崇簡(jiǎn)”等方面的論述,進(jìn)一步分析了禪意在明式家具造型藝術(shù)上的表現(xiàn)。 通過(guò)以上的論證分析,本文認(rèn)為:明式家具的造型藝術(shù)是中國(guó)傳統(tǒng)藝術(shù)觀和藝術(shù)精神統(tǒng)攝下的一種極富魅力的線的律動(dòng)。中國(guó)傳統(tǒng)藝術(shù)觀是以代表著禮樂(lè)傳統(tǒng)文化的儒家思想為中心的;中國(guó)傳統(tǒng)的藝術(shù)精神則是道、佛互滲,進(jìn)一步說(shuō)是莊、禪互滲凝聚而成的;而禪意蘊(yùn)含其間、起著粘合劑的作用。禪意的普遍性、靈活性、粘合性,正是家具這種文化粘結(jié)的成功典范。
[Abstract]:As an important part of Chinese traditional material culture, Ming style furniture is not only an important part of ancient household life, but also the product of materialization of traditional spiritual culture. The Chinese traditional furniture culture represented by Ming style furniture reflects the continuous progress of furniture manufacturing technology on the one hand, and reflects a kind of culture through this kind of furniture on the other hand, a culture with Chinese artistic characteristics. Buddha, Zen has continuously "combined" with Chinese native culture, ideology, and artistic spirit since it was introduced. In the process of Sinicization and aestheticalization, Zen has continuously enriched Chinese traditional culture. The dynamic construction of Chinese artistic spirit and various specific art forms have had a significant and profound impact. Taking literati and officials as the link, taking the universality, flexibility and agglutination of Zen as the basic starting point, the Ming style furniture, which is created by artisans, will present a specific cultural spirit phenomenon. Thus, the spiritual meaning revealed in the furniture is pointed back to the Zen meaning, the literati, the craftsmen and the furniture are connected together, so that the whole process presents the characteristics of the "Yuantong" cycle of Buddhism. This paper mainly discusses the Zen meaning in Ming style furniture and its plastic arts, in order to further explore the cultural and artistic connotation of Ming style furniture. The paper is divided into three parts: the first part, mainly introduces the basic development of Ming furniture, including the concept of Ming furniture, categories and basic characteristics of modeling analysis. The second part, the basic expression of Zen meaning, and through the analysis of three basic characteristics of Zen meaning in its development and evolution process, the relationship between Zen meaning and Ming furniture is reasonably positioned. This paper determines the structure chart of the relationship between Zen, literati, craftsmen and Ming furniture, clarifies the important position of literati and officials in the Zen artistic conception of Ming style furniture plastic arts, and paves the way for the discussion of the third part of the article. The third part, as the main part of the paper, firstly expounds the context of the formation of Zen in Ming furniture, including the analysis of specific historical and cultural context. Secondly, through the discussion of "Zen atmosphere", "still empty", "Chongjian" and so on, this paper further analyzes the expression of Zen in Ming style furniture plastic arts. Through the above argument and analysis, this paper holds that the plastic arts of Ming style furniture is a kind of charismatic line rhythm under the control of Chinese traditional art view and artistic spirit. The Chinese traditional view of art is centered on Confucianism, which represents the traditional culture of etiquette and music; the traditional artistic spirit of China is a mixture of Tao and Buddhism, and further, it is a combination of Zen and Zen. Act as a binder. The universality, flexibility and agglutination of Zen is a successful example of the cultural bond of furniture.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：K875

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 簡(jiǎn)昱昊;楚鳳紋在新中式家具設(shè)計(jì)上的應(yīng)用研究[D];中南林業(yè)科技大學(xué);2013年

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本文編號(hào)：2242586