本文選題：宋遼夏金　切入點：游牧民族　出處：《蘇州大學》2011年博士論文　論文類型：學位論文

【摘要】：宋遼夏金時期堪稱新形勢下的南北朝,是中國歷史上又一次具有較大深度和廣度的多民族文化藝術大融合時期。契丹、黨項、女真所代表的遼夏金是與宋在政治、軍事、經(jīng)濟等方面長期抗衡、對峙的少數(shù)民族政權。在民族大融合的旋渦中,在農(nóng)耕文化與游牧文化激蕩的聲浪中,藝術不斷交融與創(chuàng)新,孕育并鑄就了中國裝飾紋樣藝術的又一次輝煌。 宋代裝飾紋樣是時代的主流。由于工藝技術的提高,促進了工藝美術品的繁盛發(fā)展,有益于裝飾紋樣的發(fā)展,使裝飾紋樣的應用面和題材比以往更寬廣,傳承并超越了唐代裝飾紋樣。宋代是個文化高度發(fā)達的朝代,整個社會文化程度得到提高,市民的審美欣賞能力普遍較高。裝飾紋樣一方面體現(xiàn)了文人士大夫所主導的文人審美情趣,突出儒雅性,另一方面也迎合了普通的市民階層生活審美的需要,反映了當時的市民生活情趣和社會風俗,表現(xiàn)世俗性。紋樣雅中有俗,俗中有雅,形成雅俗共賞的裝飾紋樣藝術面貌。游牧文明和農(nóng)耕文明的深度融合是遼、夏、金裝飾紋樣的形成基礎。遼、夏、金民族作為游牧民族,在裝飾紋樣上體現(xiàn)了北方民族雄邁豪爽的精神風貌和淳樸的審美觀點。遼、夏、金裝飾紋樣與宋的裝飾紋樣并存發(fā)展,其裝飾紋樣藝術都經(jīng)歷了模仿漢族文化,把漢族文化與本民族文化逐漸有機融合,加上外來文化的遺韻,最終形成獨具特色的裝飾紋樣的過程。遼、西夏、金裝飾紋樣與主流漢族裝飾紋樣在交流互補中競相發(fā)展,構(gòu)成了統(tǒng)一的中國裝飾紋樣的多維有機整體,其特有的民族紋樣特征豐富了主流紋樣的內(nèi)在氣質(zhì),促進了民族紋樣藝術的雙向交流與融合,在裝飾紋樣領域得到了共同繁榮迅速發(fā)展。宋、遼、夏、金在裝飾藝術上都出現(xiàn)了新的紋樣,一直到元朝統(tǒng)一中國,最終游牧農(nóng)業(yè)合二為一,構(gòu)成了中華民族多元一體的裝飾紋樣面貌。 一直以來,遼、西夏、金時期的裝飾紋樣在中國紋樣史上就如滄海一粟,不為重視。盡管分別建立這三個朝代的契丹、黨項族、女真族在歷經(jīng)民族文化的融合,接納和吸收中原文化之后生成了許多具有開創(chuàng)性的裝飾紋樣卻也因不被視為正統(tǒng)而被淹沒。本文嘗試重現(xiàn)這一段在中國紋樣史上相當重要,卻為我們長期所忽略的篇章�？偟膩碚f,宋遼夏金時期是我國裝飾紋樣發(fā)展的集大成時期,起到了承前啟后、繼往開來的作用,對元明清裝飾紋樣的發(fā)展有巨大的影響,在裝飾紋樣發(fā)展史上具有重要的歷史地位。宋遼夏金時期我國裝飾紋樣的整體發(fā)展趨勢由古典趨向于世俗,從宮廷拓展到市場,從而奠定了中國裝飾紋樣發(fā)展的格局。
[Abstract]:The Song, Liao, Xia and Jin dynasties can be called the Southern and Northern dynasties under the new situation. It is another time in Chinese history which has a great depth and breadth of multi-national cultural and artistic integration. Qidan, Dangxiang, Nu Zhen represents the Liao Xia and Jin dynasties in politics and military affairs with the Song Dynasty. In the vortex of national integration, in the sound of the agitation of farming culture and nomadic culture, art is constantly blending and innovating. Nurtured and cast the Chinese decorative pattern art another brilliant. The decorative pattern of Song Dynasty is the mainstream of the times. Because of the improvement of technology and technology, it promotes the flourishing development of arts and crafts, is beneficial to the development of decorative pattern, and makes the application and subject matter of decorative pattern wider than ever before. Inheriting and surpassing the decorative patterns of the Tang Dynasty. The Song Dynasty is a highly developed dynasty with a highly developed culture, and the whole social and cultural level has been improved. The decorative patterns, on the one hand, reflect the literati aesthetic tastes dominated by literati and officials, and highlight the elegance, on the other hand, they cater to the aesthetic needs of the ordinary citizens. Reflecting the life interests and social customs of the people at that time, expressing the secular nature. There are vulgar patterns in the patterns of elegance and elegance in the common customs, forming a decorative art appearance of common appreciation. The deep fusion of nomadic civilization and agricultural civilization is the Liao, Xia, and Xia dynasties. As a nomadic nation, the Liao, Xia and Jin nationalities, as nomadic people, embody the spiritual style and simple aesthetic viewpoint of the northern nationalities, such as Xiong Mai, style and style and simplicity, etc. The decorative patterns of Liao, Xia and Jin coexist with the decorative patterns of Song Dynasty. The decorative pattern art has experienced the process of imitating Han nationality culture, gradually merging Han nationality culture with native culture, and adding the rhyme of foreign culture to form unique decorative pattern. The gold decorative pattern and the mainstream Han decorative pattern develop with each other in exchange and complement each other, forming a unified multi-dimensional organic whole of Chinese decorative pattern, and its unique national pattern features enrich the internal temperament of the mainstream pattern. It promoted the two-way communication and integration of the national pattern art, and got a common prosperity and rapid development in the decorative pattern field. New patterns appeared in the decorative arts of Song, Liao, Xia and Jin until the Yuan Dynasty, when China was unified. Finally, nomadic agriculture merged into one, which constituted the decorative appearance of the Chinese nation. All along, the decorative patterns of Liao, Xixia, and Jin dynasties are just like a drop in the ocean in the history of Chinese patterns. Although the three dynasties of Qidan, Dangxiang and Faizhen were established separately, they experienced the fusion of national culture. After accepting and absorbing the culture of the Central Plains, many pioneering decorative patterns have been created, but have also been submerged because they are not regarded as orthodox. This article attempts to recreate this section in the history of Chinese patterns. In general, the Song, Liao, Xia and Jin dynasties were the period of the development of decorative patterns in China, which played a role of connecting the past with the future, and had a great impact on the development of decorative patterns in the Yuan, Ming and Qing dynasties. The overall development trend of decorative patterns in China in Song Liao Xia and Jin dynasties from classical to secular from the palace to the market thus laid the pattern of the development of decorative patterns in China.
【學位授予單位】：蘇州大學
【學位級別】：博士
【學位授予年份】：2011
【分類號】：K875

【引證文獻】

相關期刊論文 前1條

1 張純承;;中國民間舞蹈價值與文化載體[J];祖國;2013年02期

相關博士學位論文 前1條

1 陳燕琳;云南大理鶴慶新華村白族銀銅手工技藝研究[D];中國藝術研究院;2013年

相關碩士學位論文 前2條

1 郭芳;莫高窟藝術中菩薩寶冠的演變[D];蘭州大學;2013年

2 林榮妍;中國傳統(tǒng)圖形的文化內(nèi)涵及創(chuàng)新應用[D];合肥工業(yè)大學;2013年

，

本文編號：1633654