本文選題：元代建筑　切入點(diǎn)：室內(nèi)設(shè)計(jì)　出處：《青島理工大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】：室內(nèi)空間是建筑營(yíng)造的目的所在,室內(nèi)藝術(shù)作為建筑的審美符號(hào)深入到建筑藝術(shù)的每個(gè)角落,成為與之相互依賴、不可分離的一個(gè)整體。在中國(guó)古代室內(nèi)藝術(shù)的歷史發(fā)展中,元代占有著不可或缺的地位。雖然元代時(shí)期比較短暫,但是不乏燦爛。 本文在對(duì)元代建筑現(xiàn)有實(shí)例調(diào)研,文獻(xiàn)及圖片資料分析的基礎(chǔ)上,主要分建筑部分、隔斷部分、家具部分三方面對(duì)元代建筑室內(nèi)環(huán)境的陳設(shè)格局及裝飾藝術(shù)進(jìn)行了論述。 元代建筑室內(nèi)構(gòu)架由于采用減柱和移柱、大內(nèi)額、草h?等,室內(nèi)主要使用空間有所增大,整個(gè)室內(nèi)呈現(xiàn)出豪放、素樸的風(fēng)格特征。元代建筑用材的等級(jí)小于宋代,整個(gè)建筑立面的比例關(guān)系向纖細(xì)方向發(fā)展。在建筑構(gòu)件的裝飾上,青綠彩畫(huà)、旋子彩畫(huà)開(kāi)始流行。小木作構(gòu)件端頭的雕刻以肚蟬紋、鳥(niǎo)翼紋、云紋等為主。天花藻井也出現(xiàn)了向明清樣式過(guò)渡的形態(tài)。元代室內(nèi)中間層次分隔裝飾手段比較豐富,木板隔斷、屏風(fēng)和軟裝飾帳幔在不同的部位進(jìn)一步分隔室內(nèi)空間,其樣式多承宋制,在裝飾手段和裝飾色彩上具有自己的風(fēng)格。家具層面上,元代有許多如元代家具喜用曲線裝飾,呈現(xiàn)出少數(shù)民族獨(dú)特的審美特征,并出現(xiàn)了霸王棖、羅鍋棖等樣式的創(chuàng)新和發(fā)展,被明式家具所繼承。元代室內(nèi)裝飾與陳設(shè)承前啟后,在繼承了宋代建筑室內(nèi)的特點(diǎn)的基礎(chǔ)上,又有許多的創(chuàng)新和嘗試,孕育著明清以后室內(nèi)空間裝飾的雛形。
[Abstract]:Interior space is the purpose of architectural construction. Interior art, as an aesthetic symbol of architecture, goes deep into every corner of architectural art and becomes a interdependent and inseparable whole. In the historical development of ancient Chinese interior art, The Yuan Dynasty occupies an indispensable position. Although the Yuan Dynasty period is relatively short, but there is no lack of brilliant. Based on the investigation of the existing cases of the Yuan Dynasty architecture and the analysis of the literature and picture data, this paper mainly discusses the furnishing pattern and decorative art of the interior environment of the Yuan Dynasty architecture in three aspects, namely, the architectural part, the partition part and the furniture part. The interior frame of the Yuan Dynasty was built because of the use of reduced columns and moving columns, large interior, grass h?? In Yuan Dynasty, the grade of building materials is smaller than that of Song Dynasty, the proportion of the whole building facade develops in the direction of fineness. In the decoration of architectural components, Green and green color paintings, curly color paintings began to be popular. Carvings at the end of small wooden components were mainly carvings of tripe cicadas, bird wings, moire, etc. Smallpox algae wells also appeared the form of transition to the Ming and Qing styles. There were abundant means of separating and decorating the interiors in the Yuan Dynasty. Board partition, screen and soft decorative tent mantle further separate the interior space in different parts, its style is more than Song system, it has its own style in decoration means and decorative color. On the furniture level, In the Yuan Dynasty, many furniture were decorated with curves, showing the unique aesthetic characteristics of the minority nationalities, and the innovation and development of the overlord Cheng, Luo Guo Cheng and other styles were inherited by the Ming style furniture. The interior decoration and furnishings of the Yuan Dynasty were linked to the past and the future. On the basis of inheriting the characteristics of the interior of the Song Dynasty, there are many innovations and attempts, which give birth to the embryonic form of interior space decoration after the Ming and Qing dynasties.
【學(xué)位授予單位】：青島理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：TU238;TU-86

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 莊佃倫;元代北京四合院住宅探析[D];北京建筑大學(xué);2013年

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本文編號(hào)：1617262