【摘要】：中國蘇州地區(qū)古典門的紋樣種類繁多,裝飾功能劃分詳細,富有強烈的歷史意義與文化內(nèi)涵。同時,傳統(tǒng)紋樣秉承了中國傳統(tǒng)文化之美,表現(xiàn)出了當(dāng)時人們的審美情趣與藝術(shù)高度。門的演變和種類是在中國歷史和文化的大環(huán)境中改變和產(chǎn)生的,在演變的過程中受到了歷史、文化、地域、環(huán)境等諸多方面的影響,具有強烈的歷史性、地域性的同時又存在著共通性,蘇州園林中的古典門的傳統(tǒng)紋樣種類繁、多變化多樣,汲取了中國多元文化的精髓,文化是一個民族的瑰寶,也是一個民族的脊梁,中國的一部分傳統(tǒng)文化通過門上的紋樣被記錄和保留了下來,并且被傳承與弘揚。這些紋樣是中國部分文化的結(jié)晶,細細品讀這些紋樣就能感受到濃濃地中華傳統(tǒng)文化的氣息。然而,在這許許多多文化之中才培養(yǎng)出了這一點點的藝術(shù),正是這樣的藝術(shù)才是中國傳統(tǒng)門紋樣的美之根本。但是,在全球掀起的現(xiàn)代主義浪潮的驅(qū)動下,傳統(tǒng)的中國紋樣漸漸走出了人們的視野,成為了中國裝飾歷史的一部分。實際上,當(dāng)我們用現(xiàn)代的美學(xué)理論去審視這些傳統(tǒng)紋樣時,便會發(fā)現(xiàn)它們所具備的美也是符合和適用于現(xiàn)如今我們所提倡的和認可的審美標準。因此,我認為在中國社會中如果要完成一個現(xiàn)代主義風(fēng)格的設(shè)計,設(shè)計師們應(yīng)該更多地注重加入中國傳統(tǒng)紋樣的設(shè)計元素,具有中國傳統(tǒng)文化符號意義的紋樣將會自然而然地成為設(shè)計中更被中國社會所接受、更能融于中國社會的設(shè)計語言。在中國大地之上讓更多的設(shè)計師從傳統(tǒng)文化中汲取設(shè)計元素,注重設(shè)計的本土化才是我國設(shè)計師追求的目標。
[Abstract]:The classical door in Suzhou area of China has a wide variety of patterns and detailed decorative functions, which has strong historical significance and cultural connotation. At the same time, the traditional pattern inherits the beauty of Chinese traditional culture, showing the aesthetic sentiment and artistic height of people at that time. The evolution and variety of the door were changed and produced in the general environment of Chinese history and culture. In the process of evolution, it was influenced by many aspects, such as history, culture, region, environment and so on. The traditional patterns of classical doors in Suzhou gardens are numerous and varied, drawing on the quintessence of Chinese multiculturalism, which is the treasure of a nation and the backbone of a nation. Part of Chinese traditional culture is recorded and preserved through the patterns on the door, and is passed on and carried forward. These patterns are the crystallization of some Chinese culture. However, this little art has been cultivated in so many cultures, which is the essence of the beauty of Chinese traditional door patterns. However, driven by the global modernism tide, the traditional Chinese pattern has gradually gone out of people's vision and become a part of the history of Chinese decoration. In fact, when we examine these traditional patterns with the modern aesthetic theory, we will find that the beauty they possess conforms to and applies to the aesthetic standards that we advocate and approve today. Therefore, I think that if we want to complete the design of a modernist style in Chinese society, designers should pay more attention to adding Chinese traditional pattern design elements. Patterns with the symbolic meaning of Chinese traditional culture will naturally become the design language that is more accepted by the Chinese society and more integrated into the Chinese society. Let more designers draw design elements from the traditional culture on the land of China, and pay attention to the localization of design is the goal that our designers pursue.
【學(xué)位授予單位】：北方工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J522

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本文編號：2251470