本文選題：四合院　切入點：裝飾圖案　出處：《西安美術(shù)學院》2012年碩士論文

【摘要】：關中地區(qū)的四合院民居作為當?shù)靥囟ōh(huán)境下的“上層建筑”,是陜西乃至北方建筑的典型代表,其布局嚴謹、宏偉大氣、用料考究,并多以高浮雕的藝術(shù)形式在屋頂、墻面、照壁、門窗、門樓、柱礎等位置裝飾精美圖案,內(nèi)容造型豐富飽滿、雕工細膩、生動逼真、繁簡適度,是北方民居建筑裝飾的典型代表。關中地區(qū)現(xiàn)存的四合院民居幾乎全為明清建筑,處于吉祥圖案的普及繁榮期,基本能反映出明清時期民居裝飾中的吉祥文化特征,具有很高的美學價值和民俗文化價值,較為全面的反映了關中民眾所追求的人生理想和精神寄托。 文章從關中地區(qū)自然人文環(huán)境與傳統(tǒng)民居建筑的關系入手,介紹了關中四合院民居裝飾觀念及藝術(shù)表現(xiàn)手法,梳理了傳統(tǒng)民居建筑中吉祥圖案的起源與傳承性,著重對關中四合院民居中所裝飾的吉祥紋樣的分布、造型與題材進行了歸類與分析；進而論述了關中四合院民居裝飾藝術(shù)中圖案所蘊含的吉祥觀念,結(jié)合關中四合院民居內(nèi)具有代表性的圖案從生命觀、生活觀和人格追求幾個方面進行剖析,進一步驗證了關中四合院民居中裝飾圖案的“吉祥”主題。這些吉祥圖案不僅體現(xiàn)了關中民眾對生命現(xiàn)象的崇拜、對知識學問的探索,對耕讀傳家的理解,而且也是關中民眾對自己人生理想和家族命運的主動謀劃。其中也飽含著儒釋道三家思想的相互滲透、融合、吸收,更加維系了吉祥圖案的文化傳承與發(fā)展。本課題的研究,一方面,可探知吉祥圖案所蘊含的民眾生活理想和民俗文化,另一方面,為我們在現(xiàn)代藝術(shù)設計中運用吉祥圖案提供相應理論支撐,具有十分重要的理論和現(xiàn)實意義。
[Abstract]:As the "superstructure" of the local special environment, the courtyard houses in Guanzhong area are typical representatives of the buildings in Shaanxi and even in the north. Their layout is rigorous, magnificent, the materials are fine, and most of them are in the form of high-relief art on the roofs and walls. According to the wall, doors and windows, gateways, pillars, and other locations decorated with exquisite patterns, rich and full content, exquisite carving, vivid lifelike, moderate complexity, The existing quadrangle houses in the Guanzhong area are almost all Ming and Qing buildings, and are in the period of prosperity of auspicious patterns, which basically reflect the auspicious cultural characteristics in the decoration of folk houses in the Ming and Qing dynasties. It has high aesthetic value and folk culture value, which reflects the ideal of life and spiritual sustenance pursued by the people in Guanzhong. Starting with the relationship between the natural and humanistic environment in Guanzhong area and the traditional residential buildings, this paper introduces the decoration concept and artistic expression techniques of Guanzhong quadrangle houses, and combs the origin and inheritance of auspicious patterns in the traditional residential buildings. The distribution, modeling and subject matter of auspicious patterns in Guanzhong quadrangle houses are classified and analyzed, and the auspicious conception of patterns in decoration art of Guanzhong quadrangle houses is discussed. In combination with the representative patterns in the Guanzhong quadrangle dwelling, it is analyzed from the view of life, the view of life and the pursuit of personality. It further verifies the "auspicious" theme of the decorative patterns in the Guanzhong courtyard houses. These auspicious patterns not only reflect the people's worship of life phenomena, the exploration of knowledge and knowledge, and the understanding of farming, reading and spreading families. It is also the initiative of the people of Guanzhong to plan their own ideals of life and the fate of their families. Among them, there are also three thoughts of Confucianism, Buddhism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Taoism, Tao@@. On the one hand, we can find out the ideal of people's life and folk culture contained in auspicious patterns. On the other hand, it is of great theoretical and practical significance for us to use auspicious patterns in modern art design.
【學位授予單位】：西安美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J525

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