本文選題：隆昌　切入點(diǎn)：青石雕刻　出處：《重慶大學(xué)》2010年碩士論文

【摘要】： 明清時(shí)期隆昌青石雕刻裝飾藝術(shù)作為一種造型形態(tài)和一種具有獨(dú)立審美特征的藝術(shù)形式是通過將裝飾符號(hào)和裝飾表現(xiàn),材料工藝融會(huì)與一體的綜合視覺藝術(shù)形式;它以秩序化、規(guī)律化、程式化為要求,改變和美化事物,形成合乎民間工藝審美需要與人們審美理想相統(tǒng)一,相和諧的藝術(shù)形態(tài)。本文對(duì)現(xiàn)存明清時(shí)期隆昌青石雕刻的石牌坊、石碑、生活器具上的裝飾圖形進(jìn)行實(shí)地調(diào)查研究;從地處西南的隆昌石雕文化基礎(chǔ)、被裝飾類型、裝飾形式、以及裝飾藝術(shù)的審美特征和美學(xué)意蘊(yùn)進(jìn)行系統(tǒng)整理和深度挖掘。以弘揚(yáng)中華民族民間藝術(shù)精髓,促進(jìn)我國(guó)當(dāng)代民間裝飾藝術(shù)的轉(zhuǎn)化消融和繁榮發(fā)展有很重要的現(xiàn)實(shí)意義。全文站在裝飾藝術(shù)的學(xué)科視野,結(jié)合符號(hào)學(xué)、設(shè)計(jì)學(xué)、詮釋學(xué)、美學(xué)、社會(huì)學(xué)、民俗學(xué)等多維角度進(jìn)行跨學(xué)科的裝飾藝術(shù)形式研究,系統(tǒng)分析明清時(shí)期隆昌青石雕刻裝飾藝術(shù)的工藝特點(diǎn),為現(xiàn)代設(shè)計(jì)創(chuàng)作提供可茲借鑒的美學(xué)藝術(shù)價(jià)值體現(xiàn)。明清時(shí)期隆昌青石雕刻裝飾的藝術(shù)形式美,集中的體現(xiàn)了明清時(shí)期那些不知名民間藝人工匠的集體智慧,他們自如地運(yùn)用漸變、重復(fù)、對(duì)比、韻律、平衡、組合、分割等等構(gòu)成藝術(shù)形的裝飾手段。時(shí)至今日來(lái)看,我們?nèi)匀槐凰鼈兯故镜难b飾藝術(shù)魅力所深深嘆服和感到震撼。這些人類心靈審美情感物化的藝術(shù)呈現(xiàn)具有很高的學(xué)術(shù)研究?jī)r(jià)值,歷經(jīng)數(shù)百年的歷史檢驗(yàn),魅力依然,無(wú)論在造型設(shè)計(jì)還是材料選擇以及在圖案裝飾上都具備了很高的藝術(shù)審美價(jià)值和社會(huì)文化價(jià)值;也成為我們?cè)诂F(xiàn)代圖案裝飾設(shè)計(jì)運(yùn)用上的典范。
[Abstract]:In the Ming and Qing dynasties, Longchang Qingshi carving and decoration art, as a form of modeling and an art form with independent aesthetic characteristics, is a comprehensive visual art form, which integrates the decorative symbols and decorative expressions, materials and crafts, and integrates with one another. In order to change and beautify things and form a harmonious artistic form which conforms to the aesthetic needs of folk craft and people's aesthetic ideal, this paper deals with the stone archways and stone tablets of Longchang Qingshi carving in Ming and Qing dynasties. From the cultural foundation of Longchang stone carving, which is located in the southwest, the decorative type, decoration form, And the aesthetic characteristics and aesthetic implication of decorative art are systematically sorted out and deeply excavated in order to carry forward the essence of Chinese folk art, It is of great practical significance to promote the transformation and prosperous development of contemporary folk decorative art in China. The full text stands in the field of the subject of decorative art, combining semiotics, design, hermeneutics, aesthetics, sociology, etc. From the perspective of folklore and other multidimensional perspectives, this paper studies the interdisciplinary decorative art forms, and systematically analyzes the technological characteristics of the decorative art of Qingshi carving in Longchang during the Ming and Qing dynasties. The artistic form beauty of Longchang Qingshi carving decoration in the Ming and Qing dynasties embodies the collective wisdom of the artisans of the unknown folk artists in the Ming and Qing dynasties. They freely apply the decorative means of gradual change, repetition, contrast, rhythm, balance, combination, segmentation, etc. To this day, We are still deeply impressed and shocked by the charm of the decorative art that they show. The art of materializing the aesthetic feelings of the human mind is of great academic value, and after hundreds of years of historical testing, the charm is still there. Both in the modeling design and material selection as well as in the pattern decoration has a very high artistic aesthetic value and social and cultural value, but also become our model in the application of modern pattern decoration design.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J314.3

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