本文選題：明清時期瓷器　切入點：裝飾紋樣　出處：《武漢理工大學(xué)》2008年碩士論文

【摘要】： 裝飾紋樣藝術(shù)的起源和發(fā)展經(jīng)歷了幾千年漫長的演變過程。在當(dāng)代,隨著科學(xué)的進步,新材料新技術(shù)的應(yīng)用,更為我們的裝飾藝術(shù)開拓了新的領(lǐng)域。如何創(chuàng)造出新的不朽之作,在繼承民族傳統(tǒng)藝術(shù)的基礎(chǔ)上發(fā)揚創(chuàng)新是新時代賦予我們的歷史使命。裝飾藝術(shù)設(shè)計既要有民族風(fēng)格,又要具有時代特色,以適應(yīng)社會的發(fā)展。繼承與創(chuàng)新是建立在探索與實踐的基礎(chǔ)上,中國傳統(tǒng)裝飾藝術(shù)是在探索實踐中獲得創(chuàng)新與發(fā)展。今天的我們作為藝術(shù)大軍的后備力量更要以時代的審美和創(chuàng)新的理念進行研究、探索、實踐、在不斷的漸進變化中完善裝飾藝術(shù),本文通過對明清時期瓷器紋飾設(shè)計的收集與分類整理,概述紋飾的內(nèi)容,類型與種類,分析出紋飾的表現(xiàn)形式及美學(xué)特征。在此基礎(chǔ)上,對明清時期瓷器紋飾進行現(xiàn)代應(yīng)用的提煉研究,以使其符合現(xiàn)代瓷器設(shè)計的需求,并且能用于現(xiàn)代瓷器紋飾設(shè)計之中,使得我們可以更好的繼承及發(fā)揚這種優(yōu)秀的傳統(tǒng)文化,并且在此基礎(chǔ)上進行進一步的創(chuàng)新設(shè)計,以順應(yīng)時代的要求,反映出當(dāng)代的藝術(shù)特色,讓我們的生活中融入更多的藝術(shù)美。 通過分析、總結(jié),本研究主要得出以下三個方面結(jié)論: (1)明清時期瓷器紋飾由于受到民俗文化、宗教信仰、時代特殊性以及歷史文化傳承等因素的影響形成了復(fù)雜多樣化的特征。其紋飾基本型不但包羅的物象豐富,種類繁多,還反映出大量的歷史、人文信息。其紋飾整體造型不但具有抽象化,圖案化的性格,還注重運用寫實的手法,使紋飾具有生命力。這些特征都是明清時期瓷器紋飾所特有的最典型的特征。 (2)通過舉例、歸納、對比、分析紋飾的內(nèi)容及形式,提煉出明清時期瓷器紋飾兩點重要的美學(xué)特征:一個是飽滿、繁復(fù),巧密的紋飾裝飾風(fēng)格,另一個是明清時期瓷器紋飾中的中國書畫氣質(zhì)。 (3)明清時期瓷器紋飾的內(nèi)涵及美學(xué)特征,不但對于現(xiàn)代瓷器紋飾設(shè)計的創(chuàng)作有巨大的借鑒意義,而且也為現(xiàn)代瓷器藝術(shù)提供了豐富的設(shè)計元素。通過分析證明了明清時期瓷器紋飾運用于現(xiàn)代瓷器紋飾設(shè)計中的可行性,同時提出具有時代特征的創(chuàng)新性設(shè)計的構(gòu)想,這種創(chuàng)造性的結(jié)合很有必要性,也具有很大的市場前景。
[Abstract]:The origin and development of decorative pattern art has experienced a long evolution for thousands of years. In contemporary times, with the progress of science, the application of new materials and new technology, our decorative art has opened up new fields. To carry forward innovation on the basis of inheriting traditional national art is the historical mission entrusted to us by the new era. Decorative art design should have both national style and characteristics of the times. In order to adapt to the development of society, inheritance and innovation are based on exploration and practice, Chinese traditional decorative art is to obtain innovation and development in the exploration practice. Today, as the reserve force of the art army, we should study, explore and practice with the aesthetic and innovative ideas of the times. Through the collection and classification of porcelain decoration design in the Ming and Qing dynasties, this paper summarizes the contents, types and types of the ornaments, and analyzes the forms of expression and aesthetic characteristics of the ornaments, on the basis of the collection and classification of the design of the porcelain ornaments in the Ming and Qing dynasties. In order to meet the needs of modern porcelain design and to be used in the design of modern porcelain ornaments, we can inherit and carry forward this excellent traditional culture better by refining and studying the modern application of porcelain ornaments in the Ming and Qing dynasties. And on this basis, further innovative design to conform to the requirements of the times, reflect the characteristics of contemporary art, so that our life into more artistic beauty. By analyzing and summarizing, the main conclusions of this study are as follows:. Due to the influence of folk culture, religious belief, the particularity of the times and the historical and cultural heritage, the porcelain ornaments of the Ming and Qing dynasties formed complex and diversified characteristics. It also reflects a large amount of historical and humanistic information. The overall modeling of its ornaments not only has an abstract and patterned character, but also pays attention to the use of realistic techniques. These characteristics are the most typical characteristics of porcelain decoration in Ming and Qing dynasties. 2) through examples, induction, comparison and analysis of the contents and forms of the ornaments, two important aesthetic features of the porcelain ornaments in the Ming and Qing dynasties were abstracted: one was the full, complicated and compact decorative style of the ornaments, The other is the Chinese painting and calligraphy temperament in the porcelain ornaments of the Ming and Qing dynasties. (3) the connotation and aesthetic features of porcelain ornaments in Ming and Qing dynasties are not only of great significance for the creation of modern porcelain decoration design, It also provides abundant design elements for modern porcelain art. The feasibility of applying porcelain ornaments in Ming and Qing dynasties to the design of modern porcelain ornaments is proved through the analysis. At the same time, the concept of innovative design with the characteristics of the times is put forward. This kind of creative union is very necessary, also has the very big market prospect.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：J527

【引證文獻】

相關(guān)碩士學(xué)位論文 前9條

1 王靜;明代纏枝紋視覺形式語言研究[D];湖南工業(yè)大學(xué);2010年

2 滕道洋;中國傳統(tǒng)陶瓷菊花紋裝飾特征演變研究[D];景德鎮(zhèn)陶瓷學(xué)院;2011年

3 邵美英;洗盡鉛華 古樸典雅[D];曲阜師范大學(xué);2011年

4 劉光甫;明代景德鎮(zhèn)青花山水紋飾藝術(shù)特征的演變規(guī)律研究[D];景德鎮(zhèn)陶瓷學(xué)院;2010年

5 李曼;明清時期陶瓷石榴紋裝飾特征演變研究[D];景德鎮(zhèn)陶瓷學(xué)院;2010年

6 邱悅;明清吉祥紋樣在茶室空間中的應(yīng)用研究[D];齊齊哈爾大學(xué);2012年

7 龍侗香;明清陶瓷蘭花紋裝飾特征演變研究[D];景德鎮(zhèn)陶瓷學(xué)院;2012年

8 江婷芳;明嘉靖時期陶瓷鶴紋的藝術(shù)特征研究[D];景德鎮(zhèn)陶瓷學(xué)院;2013年

9 李丹;陶藝石榴紋研究[D];景德鎮(zhèn)陶瓷學(xué)院;2013年

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本文編號：1672244