本文關(guān)鍵詞： 敦煌 藻井蓮紋 絲巾設(shè)計(jì)　出處：《湖北工業(yè)大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本課題對(duì)唐代敦煌藻井蓮紋作了較為全面的綜合研究,通過研究唐代敦煌藻井蓮紋的發(fā)展過程與裝飾藝術(shù),討論了唐代藻井蓮花紋樣的審美特征與文化內(nèi)涵,進(jìn)而分析了傳統(tǒng)藻井裝飾藝術(shù)對(duì)現(xiàn)代設(shè)計(jì)理念的的啟發(fā),最后通過實(shí)例探討了唐代敦煌藻井蓮紋在現(xiàn)代絲巾設(shè)計(jì)中的應(yīng)用方法與實(shí)踐過程,既具有弘揚(yáng)民族傳統(tǒng)文化的理論意義,同時(shí)又具有應(yīng)用價(jià)值。本文共分為五章。第一章為緒論,描述了本文的選題緣由與研究目的和意義,分析了國內(nèi)外關(guān)于本課題的研究現(xiàn)狀以及本文的研究方法。第二章簡述了藻井的起源、形制演變及其唐代敦煌藻井的結(jié)構(gòu)與裝飾,分析了影響唐代敦煌藻井蓮紋裝飾的四個(gè)方面的文化背景,一是敦煌地方文化傳統(tǒng),二是唐代中原本土文化,三是域外佛教文化,四是唐代世俗文化。第三章論述了唐代敦煌藻井蓮紋的裝飾藝術(shù)與圖式美學(xué)特征。首先描述了敦煌藻井蓮紋裝飾在初、盛、中、晚四個(gè)不同階段的發(fā)展演變,其次分析了構(gòu)成唐代敦煌藻井圖案的基本紋樣及其構(gòu)成單元,歸納了唐代敦煌藻井蓮紋在色彩表現(xiàn)上的四個(gè)特點(diǎn):即多色調(diào)的綜合運(yùn)用,紅與綠的對(duì)比組合,高貴華麗的金色以及退暈法的應(yīng)用;最后總結(jié)了唐代敦煌藻井蓮紋的圖式美學(xué)特征,一是均衡對(duì)稱,二是繁復(fù)圓滿。第四章闡述了現(xiàn)代絲巾設(shè)計(jì)應(yīng)遵循弘揚(yáng)民族傳統(tǒng)文化、提高藝術(shù)審美價(jià)值和體現(xiàn)流行時(shí)尚價(jià)值三個(gè)原則。從造型、色彩、構(gòu)圖三個(gè)方面具體論述唐代敦煌藻井蓮紋在現(xiàn)代絲巾設(shè)計(jì)中的應(yīng)用方法,最后是相關(guān)產(chǎn)品展示。第五章是結(jié)語。本課題的研究方法是:首先,查閱了大量敦煌藻井研究資料,對(duì)其進(jìn)行歸納整理,從文化學(xué)角度對(duì)唐代敦煌藻井蓮紋的的文化意蘊(yùn)進(jìn)行闡述;其次,采用分析比較的手法,從圖像學(xué)、美學(xué)的角度出發(fā),對(duì)唐代敦煌藻井蓮紋的裝飾藝術(shù)進(jìn)行研究;第三,田野調(diào)查的方法。一是到敦煌對(duì)莫高窟中的藻井裝飾圖案進(jìn)行實(shí)地考察;二是對(duì)當(dāng)下敦煌藝術(shù)絲巾品牌及其產(chǎn)品進(jìn)行考察;三是訪問范燕燕藝術(shù)工作室,通過對(duì)其藝術(shù)絲巾產(chǎn)品的考察,把握其將敦煌藻井圖案應(yīng)用到藝術(shù)絲巾設(shè)計(jì)中的方式方法,了解其傳統(tǒng)與時(shí)尚相結(jié)合的設(shè)計(jì)理念。
[Abstract]:This paper makes a comprehensive and comprehensive study on the lotus patterns of Dunhuang Caojing in Tang Dynasty. By studying the development process and decorative art of the lotus patterns in Dunhuang, the aesthetic characteristics and cultural connotations of lotus patterns in Dunhuang are discussed. Then it analyzes the inspiration of the traditional decorative art on modern design, and finally discusses the application method and practice process of Dunhuang Caojing Lotus pattern in the modern silk towel design through an example. This paper is divided into five chapters. The first chapter is the introduction, which describes the reason, purpose and significance of this paper. The second chapter briefly describes the origin, shape evolution and the structure and decoration of Dunhuang algae well in Tang Dynasty. This paper analyzes the cultural background of four aspects that affect the decoration of Dunhuang Caojing Lotus grain in Tang Dynasty, one is the local cultural tradition of Dunhuang, the other is the native culture of the Central Plains of Tang Dynasty, and the third is the extraterritorial Buddhist culture. Fourth, the secular culture of Tang Dynasty. The third chapter discusses the decorative art and schema aesthetic characteristics of Dunhuang Caojing Lotus grain. Firstly, it describes the development and evolution of Dunhuang Caojing Lotus grain decoration in the early, prosperous, middle and late four stages. Secondly, this paper analyzes the basic patterns and components of Dunhuang algae pattern in Tang Dynasty, and summarizes the four characteristics of Dunhuang algae lotus patterns in the Tang Dynasty: the comprehensive use of multi-tone, the comparative combination of red and green. The application of noble and gorgeous gold and halo reduction method; Finally summarized the Dunhuang Dunhuang Caojing Lotus pattern aesthetic characteristics, one is balanced symmetry, the other is the completion of the complicated. 4th chapter elaborated the modern silk towel design should follow to carry forward the traditional national culture. From the aspects of modeling, color and composition, this paper discusses the application of Dunhuang Caojing Lotus patterns in the design of modern silk scarves in Tang Dynasty. Finally is the related product display. 5th chapter is the conclusion. The research method of this topic is: first, consulted a large number of Dunhuang algae well research data, summarized and sorted it. From the cultural point of view, the cultural implication of Dunhuang Caojing lotus grain in Tang Dynasty was expounded. Secondly, by means of analysis and comparison, from the perspective of graphics and aesthetics, the decorative art of Dunhuang Caojing Lotus grain in Tang Dynasty is studied. Third, the method of field investigation. One is to go to Dunhuang to carry on the field inspection to the decoration pattern of the algae well in the Mogao Grottoes; Secondly, the brand and its products of Dunhuang artistic scarves are investigated. The third is to visit Fan Yanyan art studio, through the inspection of its artistic silk scarf products, grasp the Dunhuang algae pattern applied to the design of artistic silk scarves, understand its traditional and fashion design concept.
【學(xué)位授予單位】：湖北工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：TS941.722

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本文編號(hào)：1449329