【摘要】：團(tuán)花圖案作為中國(guó)傳統(tǒng)吉祥紋樣之一,大量應(yīng)用于清代,在清代吉祥文化中具有舉足輕重的地位,極具代表性。因其外部輪廓多為圓形,象征圓滿喜慶,具有深刻的人文內(nèi)涵。團(tuán)花圖案作為一種骨架紋樣,在圖案內(nèi)外輪廓素材的選用上除動(dòng)植物紋樣外,還有文字紋樣等其他紋樣。在繼承和發(fā)揚(yáng)中國(guó)傳統(tǒng)吉祥紋樣中,我們應(yīng)當(dāng)創(chuàng)新設(shè)計(jì)清代團(tuán)花圖案,并將其巧妙地運(yùn)用到現(xiàn)代服飾設(shè)計(jì)中。本文旨在通過對(duì)清代服飾中團(tuán)花圖案的深入研究,探析其文化內(nèi)涵和藝術(shù)特征及其在現(xiàn)代服飾設(shè)計(jì)中的創(chuàng)新應(yīng)用。本論文共分四個(gè)部分,第一部分探析團(tuán)花圖案的歷史淵源,了解其文化背景。第二部分重點(diǎn)分析清代團(tuán)花圖案的內(nèi)外輪廓、裝飾手法,旨在了解團(tuán)花圖案內(nèi)外輪廓的構(gòu)成方式及其蘊(yùn)含的文化寓意。第三部分探究清代團(tuán)花圖案在現(xiàn)代中外服飾設(shè)計(jì)中的案例,總結(jié)歸納其在現(xiàn)代服飾中的設(shè)計(jì)方法。第四部分為設(shè)計(jì)實(shí)踐,在保留清代團(tuán)花圖案外輪廓為圓形或類圓形以及吉祥文化內(nèi)涵的前提下,重新設(shè)計(jì)團(tuán)花圖案內(nèi)外輪廓布局形式,并應(yīng)用于現(xiàn)代服飾設(shè)計(jì),探索清代團(tuán)花圖案內(nèi)外輪廓布局設(shè)計(jì)的新方法。本文以期能夠進(jìn)一步補(bǔ)充清代服飾中團(tuán)花圖案在現(xiàn)代服飾設(shè)計(jì)中應(yīng)用研究的相關(guān)內(nèi)容,并為今后更深層次的應(yīng)用實(shí)踐提供參考,為傳統(tǒng)圖案在現(xiàn)代服飾設(shè)計(jì)中的應(yīng)用貢獻(xiàn)一份力量。同時(shí)希望本文的研究可以引起人們對(duì)傳統(tǒng)圖案設(shè)計(jì)的再思考。
[Abstract]:As one of the traditional auspicious patterns in China, Tuanhua pattern was widely used in the Qing Dynasty, which played an important and representative role in the auspicious culture of Qing Dynasty. Because its outer contour is round, symbolizes the perfect celebration, has the profound humanities connotation. In addition to animal and plant patterns, there are other patterns, such as text patterns, in the selection of internal and external contours of the patterns as a skeleton pattern. In inheriting and carrying forward Chinese traditional auspicious patterns, we should innovate and design the Qing Dynasty flower pattern and apply it to modern dress design. The purpose of this paper is to explore the cultural connotation and artistic characteristics of the group flower pattern in Qing Dynasty and its innovative application in modern dress design. This thesis is divided into four parts. The first part analyzes the historical origin and cultural background of Tuanhua pattern. The second part mainly analyzes the inner and outer outline of the pattern of the Qing Dynasty, the decoration technique, in order to understand the composition of the inner and outer outline of the pattern and its cultural implication. The third part probes into the Qing Dynasty Tuanhua pattern in the modern Chinese and foreign clothing design cases, summarizes its design method in the modern dress. The fourth part is the design practice. On the premise of retaining the outer outline of the Qing Dynasty flower pattern as a circle or similar circle and auspicious cultural connotation, the paper redesigns the inner and outer outline layout of the flower pattern and applies it to modern dress design. To explore a new method for the design of inner and outer outline layout of the flower pattern in Qing Dynasty. The purpose of this paper is to supplement the relevant contents of the research on the application of flower patterns in the dress design of the Qing Dynasty, and to provide a reference for the further application practice in the future. Contribution to the application of traditional patterns in modern dress design. At the same time, I hope that the study of this paper can cause people to reconsider the traditional pattern design.
【學(xué)位授予單位】：武漢紡織大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：TS941.2

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