本文選題：新疆維吾爾族鑲嵌工藝花木箱　切入點：裝飾特征　出處：《新疆師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：新疆喀什維吾爾族鑲嵌工藝花木箱是新疆維吾爾族傳統(tǒng)的手工藝品，也是新疆維吾爾族特有的日常生活用品。但目前所見資料僅停留在對新疆喀什維吾爾族鑲嵌工藝花木箱的簡單認(rèn)識，而對其裝飾特征卻沒有詳細(xì)的研究。因此本文以此為出發(fā)點對新疆喀什維吾爾族鑲嵌工藝花木箱的裝飾特征進行基礎(chǔ)性研究，并試圖在此研究基礎(chǔ)上，對新疆喀什維吾爾族鑲嵌工藝花木箱與新疆其他地區(qū)維吾爾族鑲嵌工藝花木箱的裝飾特征進行比較，從而拓寬研究的整體視野，使本文具有一定的研究意義，也對新疆工藝美術(shù)基礎(chǔ)研究提供一定的資料。 本文以新疆喀什維吾爾族鑲嵌工藝花木箱的裝飾特征為主要研究對象，通過對筆者所搜集到的新疆不同地區(qū)花木箱的第一手資料按地域、制作工藝等進行歸納整理與分類；及對現(xiàn)有新疆各地區(qū)維吾爾族不同種類花木箱的制作工藝進行系統(tǒng)性介紹；再著重對新疆喀什維吾爾族鑲嵌工藝花木箱的裝飾特征進行具體分析的基礎(chǔ)上；將新疆喀什維吾爾族鑲嵌工藝花木箱與新疆其他地區(qū)維吾爾族鑲嵌工藝花木箱的藝術(shù)特征進行比較分析和研究，尋求其中的異同。 論文共分為五章；第一章為緒論部分；第二章主要對新疆維吾爾族鑲嵌工藝花木箱的相關(guān)背景做一整理，對花木箱三種來源進行梳理，著重對三種來源說中的俄羅斯來源說做詳細(xì)梳理，尋找新疆喀什維吾爾族鑲嵌工藝花木箱與筆者所搜集的俄羅斯鑲嵌工藝花木箱之間關(guān)系；第三章介紹筆者搜集到的新疆維吾爾族花木箱的種類與制作工藝，重點對新疆喀什維吾爾族鑲嵌工藝花木箱制作工藝進行梳理，為第五章新疆喀什維吾爾族鑲嵌工藝花木箱與其它地區(qū)不同工藝花木箱的比較做一鋪墊；第四章主要對新疆喀什維吾爾族鑲嵌工藝花木箱的裝飾特征進行研究，得出新疆喀什維吾爾族鑲嵌工藝花木箱的裝飾主要分布在箱蓋和箱體，并對析出的裝飾紋樣進行分析歸納，以最直接的視覺方式呈現(xiàn)出其特有的裝飾特征；第五章通過對新疆喀什維吾爾族鑲嵌工藝花木箱與新疆其他地區(qū)各種工藝花木箱的比較，可以看出不同地區(qū)的維吾爾族花木箱，其制作工藝、制作流程及裝飾紋樣均有不同，從而形成不同環(huán)境下的維吾爾族花木箱獨特的藝術(shù)特色，，而新疆喀什維吾爾族鑲嵌工藝花木箱的裝飾更為理性抽象。 通過以上的分析和研究可以得出：新疆喀什維吾爾族鑲嵌工藝花木箱很可能是由俄羅斯花木箱演變而來，雖然兩者在形制及裝飾特征上有一定的異同，但從整體藝術(shù)特征來看，兩者仍舊有很多相似之處；且新疆喀什維吾爾族鑲嵌工藝花木箱在長期的發(fā)展中，已形成了自身特有的藝術(shù)風(fēng)格，綻放出獨特的藝術(shù)魅力，在新疆民間工藝美術(shù)中具有一定的文化與藝術(shù)價值。
[Abstract]:Xinjiang Kashi Uygur mosaic craft flower wooden box is the Xinjiang Uygur traditional handicraft, It is also a special daily necessities for Uygur people in Xinjiang. But at present, the information we see is only a simple understanding of the inlaid wooden boxes of Xinjiang Kashi Uygur people's mosaics. However, there is no detailed study on its decorative characteristics. Therefore, this paper takes this as the starting point to carry on the basic research on the decorative characteristics of the inlaid wooden boxes of the Uygur inlaid craftwork in Xinjiang, and attempts to study on the basis of this research. This paper compares the decorative characteristics of flower wooden boxes of Uygur mosaics between Xinjiang Kashi and other Uygur regions in Xinjiang, so as to broaden the whole field of study and make this paper have certain research significance. It also provides some information for the basic research of Xinjiang arts and crafts. In this paper, the decorative characteristics of the mosaic wooden boxes of Kashi Uygur nationality in Xinjiang are taken as the main research objects, and the first-hand data of the wooden boxes in different regions of Xinjiang are summarized and sorted according to the region, the making technology and so on. This paper systematically introduces the making technology of different kinds of flower wooden boxes of Uygur nationality in various regions of Xinjiang, and emphasizes on the decorative characteristics of flower wooden boxes of Uygur mosaics in Kashi, Xinjiang, on the basis of the detailed analysis of the decorative characteristics of flower wooden boxes in various regions of Xinjiang. This paper compares the artistic characteristics of the flower wooden boxes of Uygur mosaics in Xinjiang Kashi and other Uygur regions of Xinjiang, and seeks for the similarities and differences between them. The paper is divided into five chapters; the first chapter is the introduction part; the second chapter is to sort out the related background of Xinjiang Uygur mosaic craft flower wooden box, and comb the three sources of flower wooden box. Focusing on the three sources of the Russian origin theory in detail to find out the Xinjiang Kashgar Uygur mosaic craft flower box and the author collected by the Russian mosaic flower box relationship; In the third chapter, the author introduces the types and manufacturing techniques of the Uygur flower boxes collected by the author, especially combing the mosaic technology of the Xinjiang Kashi Uygur nationality. The paper paves the way for 5th chapters on the comparison of flower boxes of Xinjiang Kashi Uygur mosaic craft with other regions, 4th chapter mainly studies the decorative characteristics of Xinjiang Kashi Uygur mosaic craft flower wooden boxes. It is concluded that the decoration of Uygur mosaics in Xinjiang Kashi Uygur is mainly distributed in the box cover and box body, and the decorative patterns are analyzed and summarized, showing its unique decorative characteristics in the most direct visual way. In chapter 5th, through the comparison between the inlaid wooden boxes of Uygur inlaid craftsmanship in Xinjiang Kashi and other regions of Xinjiang, we can see that the Uygur flower boxes in different areas have different production techniques, making processes and decorative patterns. Thus, the unique artistic features of Uygur flower wooden boxes are formed in different environments, while the decoration of Xinjiang Kashi Uygur mosaic flower wooden boxes is more rational and abstract. Through the above analysis and research, it can be concluded that the mosaic wooden boxes of Kashi Uygur nationality in Xinjiang may have evolved from Russian flower wooden boxes, although there are certain similarities and differences between the two in shape and decorative characteristics. But from the overall artistic characteristics, the two still have many similarities; and in the long-term development of Xinjiang Kashi Uygur mosaic craftsmanship wooden box, has formed its own unique artistic style, blooming out a unique artistic charm, Xinjiang folk arts and crafts have a certain cultural and artistic value.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：TS938

【參考文獻】

相關(guān)期刊論文 前1條

1 凌明 ,世愉;維吾爾族美術(shù)史略(下)[J];新美術(shù);1993年02期

本文編號：1640930