本文關(guān)鍵詞： 新疆維族 木模印花布 藝術(shù)特征 創(chuàng)新應(yīng)用　出處：《江南大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：新疆位居“絲綢之路的咽喉之地”,受東西方文化交流的影響其民間手工藝豐富多樣又充滿異域特色。新疆維族傳統(tǒng)木模印花布是新疆具有代表性的民間手工藝之一,同時(shí)也是中國最具有代表性的傳統(tǒng)凸版手工印染產(chǎn)品,它因其獨(dú)具一格的手工印染技藝被文化部在2006年列入了國家級(jí)首批非物質(zhì)文化遺產(chǎn)名錄。裝飾紋樣樸素而典雅、充滿邊塞異域之靈性,同時(shí)也具有很強(qiáng)的地域特色與文化之美。本文從新疆維族傳統(tǒng)木模印花布的歷史淵源著手,對(duì)其影響因素進(jìn)行了梳理與簡單介紹,如文化因素方面的“絲綢之路”、宗教信仰方面、地理位置環(huán)境方面等。新疆維族傳統(tǒng)木模印花布制作工藝與藝術(shù)特征是課題研究的重點(diǎn),其藝術(shù)特征為現(xiàn)代服飾設(shè)計(jì)的創(chuàng)新應(yīng)用提供了豐富的靈感素材。首先,通過對(duì)各大圖書館有關(guān)書籍及藏館數(shù)據(jù)庫、相關(guān)參考文獻(xiàn)數(shù)據(jù)資料進(jìn)行收集整理,然后結(jié)合實(shí)物分析的研究方法,分析了新疆維族傳統(tǒng)木模印花布的起源,總結(jié)了其制作工藝的流程、木模制作的方法、顏料制作的方法及印花工藝風(fēng)格。其次,重點(diǎn)介紹了新疆維族傳統(tǒng)木模印花布的藝術(shù)特征,包括豐富的紋樣題材、造型特點(diǎn)、構(gòu)圖構(gòu)思、寓意內(nèi)涵等以及色彩分析、審美特征和用途等。其中對(duì)具有代表性的紋樣題材都進(jìn)行了繪制。再次,將新疆維族傳統(tǒng)木模印花布與印度伯格魯木模印花布進(jìn)行比較,通過對(duì)二者制作過程、藝術(shù)特征等方面的比較,發(fā)現(xiàn)二者在制作工藝、使用工具與材料、紋樣題材與寓意以及紋樣的風(fēng)格造型等方面的異同,從而能夠?qū)π陆S族傳統(tǒng)木模印花布的典型與獨(dú)特特征更加了解。最后,通過分析新疆維族傳統(tǒng)木模印花布的制作工藝與藝術(shù)特征及審美特征,結(jié)合當(dāng)代女裝服飾設(shè)計(jì)的風(fēng)格特征與當(dāng)代人們的心理、生理需求與審美需求,著重從新疆維族傳統(tǒng)木模印花布的印染技藝、典型紋樣、綜合各元素等方面出發(fā),來實(shí)現(xiàn)當(dāng)代女裝服飾設(shè)計(jì)的創(chuàng)新應(yīng)用。通過本課題的研究,在文化方面,可以保護(hù)傳統(tǒng)印染技藝,也希望能夠?yàn)槠渌麗酆眯陆S族傳統(tǒng)木模印花布的學(xué)者提供一些理論依據(jù)。在設(shè)計(jì)與市場(chǎng)方面,也能促進(jìn)傳統(tǒng)文化的古為今用,也有助于我們現(xiàn)代年輕人了解我們的傳統(tǒng)服飾文化、新疆的異域風(fēng)情文化以及新疆維族人們的審美特點(diǎn)。有益于服裝設(shè)計(jì)藝術(shù)的發(fā)展和創(chuàng)新元素的獲取,同時(shí)也能夠帶來一定的市場(chǎng)經(jīng)濟(jì)價(jià)值。
[Abstract]:Xinjiang is the "place of the throat of the Silk Road", influenced by the cultural exchanges between the East and the West, its folk handicrafts are rich and diverse and full of exotic characteristics. Xinjiang Uygur traditional wood-patterned printed cloth is one of the representative folk handicrafts in Xinjiang. In 2006, the Ministry of Culture listed the first batch of intangible cultural heritage in China. The decorative patterns are simple and elegant. Full of the spirit of frontier fortress, it also has strong regional characteristics and cultural beauty. This paper begins with the historical origin of Xinjiang Uygur traditional wood-patterned calico, and briefly introduces its influencing factors. For example, the "Silk Road" in terms of cultural factors, religious belief, geographical environment, etc. The production technology and artistic characteristics of Xinjiang Uygur traditional wood-patterned calico are the focus of the research. Its artistic features provide abundant inspiration materials for the innovative application of modern dress design. Firstly, through the collection and arrangement of the relevant books and library databases, the relevant references and data are collected and sorted out. Then the origin of Xinjiang Uygur traditional wood pattern printed fabric is analyzed, and the process of making wood mold, the method of making wood mold, the method of pigment making and the style of printing process are summarized. This paper mainly introduces the artistic characteristics of Uygur traditional wood-patterned printed cloth in Xinjiang, including rich pattern theme, modeling characteristics, composition conception, implication and color analysis, etc. Aesthetic characteristics and uses. Among them, the representative patterns are drawn. Thirdly, the Xinjiang Uygur traditional wood-pattern printed fabric is compared with the Indian Begelu wood-patterned calico, and through the production process of the two, Through the comparison of artistic features, we find the similarities and differences between the two in the aspects of making technology, using tools and materials, theme and moral of pattern, style and modeling of pattern, etc. In order to understand more about the typical and unique characteristics of Uygur traditional wood-patterned printed cloth in Xinjiang. Finally, through the analysis of Xinjiang Uygur traditional wood-patterned calico production technology, artistic characteristics and aesthetic characteristics, Combining the style features of contemporary women's dress design with the psychological, physiological and aesthetic demands of contemporary people, the emphasis is placed on the printing and dyeing techniques, typical patterns and comprehensive elements of Xinjiang Uygur traditional wood pattern printed cloth. To realize the innovative application of contemporary women's dress design. Through the research of this subject, we can protect the traditional printing and dyeing techniques in the aspect of culture. I also hope to provide some theoretical basis for other scholars interested in Xinjiang Uygur traditional wood-patterned calico. In terms of design and market, it can also promote the use of the ancient culture for the present and the present. It also helps us young people to understand our traditional dress culture, the exotic culture of Xinjiang and the aesthetic characteristics of Uygur people in Xinjiang. It is beneficial to the development of fashion design art and the acquisition of innovative elements. Also can bring certain market economy value at the same time.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：TS194

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 安尼瓦爾·哈斯木;;維吾爾族印花土布及其圖案藝術(shù)[J];新疆地方志;2013年02期

2 鄔建華;楊樹文;;喀什聚落的形態(tài)研究之啟示[J];昌吉學(xué)院學(xué)報(bào);2013年01期

3 達(dá)達(dá)ZEN;;巴格魯 印花布傳奇[J];南方人物周刊;2010年37期

4 施建平;;新疆巴旦木紋樣——從藝術(shù)內(nèi)涵與表現(xiàn)形式風(fēng)格談起[J];文藝爭(zhēng)鳴;2010年14期

5 饒蕾;;維吾爾族裝飾藝術(shù)中的巴旦木紋樣[J];廣西輕工業(yè);2010年05期

6 朱賀琴;;維吾爾族服飾民俗中的文化生態(tài)[J];伊犁師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2009年04期

7 吳曉玲;;伊斯蘭裝飾紋樣研究[J];社科縱橫;2006年04期

8 徐紅,瓦力斯;具有濃郁地方特色的新疆民間傳統(tǒng)染纈[J];上海紡織科技;2005年09期

9 徐百佳;佩茲利紋樣初探[J];裝飾;2003年08期

10 汪可心;;印度棉布史話[J];世界博覽;1993年02期

，

本文編號(hào)：1508632