【摘要】：安土桃山時(shí)期不僅是日本歷史上一個(gè)重要的轉(zhuǎn)折過(guò)渡時(shí)期,而且又是日本茶道史上最繁盛的一個(gè)時(shí)期,日本茶道便是在這一時(shí)期得以定型的。茶道是日本傳統(tǒng)文化的奇葩,茶道在日本發(fā)展歷史是逐漸由中國(guó)化轉(zhuǎn)變?yōu)槿毡颈就粱�。安土桃山時(shí)期便是這個(gè)的轉(zhuǎn)折期,而千利休便是在這個(gè)轉(zhuǎn)折期、這個(gè)偉大轉(zhuǎn)折的最后完成者。所以文章便以千利休這個(gè)安土桃山時(shí)期集武士、茶人為一體的典型茶道文化代表來(lái)研究分析整個(gè)時(shí)期的茶道文化。 千利休在村田珠光、武野紹鷗等人的基礎(chǔ)上從消除茶道中的娛樂(lè)成分,使茶道變成一項(xiàng)純粹的藝術(shù)活動(dòng)；還原茶道到淡泊尋常的面目上,使茶道上升為一項(xiàng)綜合的生活文化藝術(shù)；改變?nèi)藗儭疤莆镂馈钡墓逃杏^念,大力提倡和物審美價(jià)值,確立和物在茶道中的正統(tǒng)地位等三個(gè)方面改革和完善草庵“佗”茶。此外,千利休豐富和發(fā)展了茶道理念：使茶道美的原點(diǎn)—“佗”更具活力和創(chuàng)造力；并提出了“和、敬、清、寂”四諦理念。正是這一系列的茶道理念使得千利休發(fā)現(xiàn)和創(chuàng)造的茶道之美得以實(shí)現(xiàn)和延伸。此外,千利休憑借自己在茶道和政治方面的影響使草庵“佗”茶在與豐臣秀吉等提倡的“黃金茶”的對(duì)比、傳播中成為這一時(shí)期文化的主流,并用自己的生命和鮮血捍衛(wèi)了自己的茶道理念,從而使得草庵“佗”茶藝術(shù)超越時(shí)代而成為不朽。 文章通過(guò)研究安土桃山時(shí)期茶道文化的典型人物—千利休及其茶道進(jìn)而來(lái)研究整個(gè)時(shí)期的茶道文化,得出了安土桃山時(shí)期茶道文化在定型期下具有附屬性、依從性,民族化、本土化,普及化、大眾化以及多樣性、包容性等的特點(diǎn)。此外,還研究分析出安土桃山時(shí)期茶道文化對(duì)日本以后茶道文化本身發(fā)展、日本飲食以及建筑和禮儀等方面深遠(yuǎn)、重要的影響,從而為我們?nèi)媪私馊毡緜鹘y(tǒng)文化提供一個(gè)視角。
[Abstract]:The Antu Taoshan period is not only an important transitional period in the history of Japan, but also the most prosperous period in the history of Japanese tea ceremony, in which the Japanese tea ceremony was finalized. Tea ceremony is a rare flower of Japanese traditional culture, and the history of tea ceremony in Japan has gradually changed from Chinese culture to Japanese localization. The Antu Taoshan period was the turning point, and Qianlixiu was the final finalist of this great turning point. Therefore, this article takes Qianlixiu, a typical representative of tea ceremony culture in the Antu Taoshan period, to study and analyze the tea ceremony culture of the whole period. Qianlixiu on the basis of Zhuguang Murata, Wuye Shao Gull, etc., from eliminating the entertainment elements in the tea ceremony, making the tea ceremony a purely artistic activity; and restoring the tea ceremony to its ordinary features. To make the tea ceremony become a comprehensive life culture and art, to change people's inherent idea of "Tang thing aesthetic", to advocate the aesthetic value of things and to establish and perfect the "Tuo" tea in three aspects: the orthodox position and the orthodox position of things in the tea ceremony. In addition, Qianlixiu enriches and develops the concept of tea ceremony: to make the origin of the beauty of tea ceremony "Tuo" more dynamic and creative, and put forward "harmony, respect, Qing, silence" four concepts. It is this series of tea ceremony concept that makes the beauty of tea ceremony realized and extended. In addition, by virtue of his influence in tea ceremony and politics, Qianlixiu made Tuo tea become the mainstream of culture in this period by comparing it with the "golden tea" advocated by Fengshenxiuji and so on. And with his own life and blood to defend their own tea concept, so that the "Tuo" tea art transcend the times and become immortal. By studying the typical character of tea ceremony culture in Antu and Taoshan period-Qianlixiu and its tea ceremony, the article studies the tea ceremony culture of the whole period, and draws the conclusion that the tea ceremony culture of Antu Taoshan period has the attribute of appendage, compliance and nationalization under the fixed period. Localization, popularization, popularization and diversity, inclusiveness, etc. In addition, it is also studied and analyzed that the tea ceremony culture during the Antu Taoshan period had a profound and important impact on the development of the tea ceremony culture itself after Japan, the Japanese diet, architecture and etiquette, and so on. In order to provide us with a comprehensive understanding of the traditional Japanese culture to provide a perspective.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：K313;F331.3

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