本文選題：漆藝　切入點：裝飾　出處：《延邊大學(xué)》2015年碩士論文

【摘要】：從事物發(fā)展角度來看時代的發(fā)展,中國漆畫的一定要走出封閉誤區(qū),用發(fā)展的眼光看待�，F(xiàn)代漆畫在藝術(shù)界一個新興的畫種形式,并在當(dāng)今多元素時代迅速的發(fā)展。但通過學(xué)習(xí)與研究發(fā)現(xiàn)中國漆畫源于中國,而現(xiàn)代漆畫卻昌盛于我國南方地區(qū)作為小工藝畫中小范圍發(fā)展傳播。這是也北方漆工藝得以發(fā)展的最大障礙,但并不代表北方?jīng)]有發(fā)展漆工藝的空間,漆工藝的歷史起源于中國,具有中國特色的現(xiàn)代漆工藝文化題材多以南方人文地理元素為主,從漆工藝的藝術(shù)語言角度分析漆藝文化持續(xù)發(fā)展的空間,現(xiàn)代中國漆畫題材的運用中,花鳥魚蟲是最典型的主題要素,這和中國南方人文環(huán)境因素、歷史發(fā)展因素有著密切的關(guān)系,這類題材只能代表我國北方地域文化,但是中國幾千年文化遍布全國,以上題材并不能代表整個中國文化,比如北方得飛禽走獸,豪放的壯麗山河也都是漆工藝藝術(shù)題材需要發(fā)掘的重要元素,這也是為什么漆工藝源于中國卻昌盛于日本越南的原因之一。另一個重要原因是如何使漆工藝從小眾小范圍的工藝變成全民化,其做典型的是日本,日本在漆器真正做到了由藝術(shù)品轉(zhuǎn)化為日常用品裝飾,這是漆文化得以弘揚的關(guān)鍵。所以北方漆工藝持續(xù)發(fā)展的空間是非常巨大廣泛的。本人的論文通過對古代漆工藝的藝術(shù)語言、緣起、與華夏歷史文化之間關(guān)系對世界的影響,以漆工藝特性在中國北方外界條件下傳播發(fā)展等方面進(jìn)行研究,通過在福建福州等地實踐研究以及回到北方認(rèn)真分析我國北方漆工藝畫家作品的分析,對漆畫工藝特有關(guān)的因素進(jìn)行性詳細(xì)研究和創(chuàng)新,得出了自己的一些見解,希望能夠拋磚引玉,為中國現(xiàn)代漆工藝的發(fā)展以及北方漆工藝的制作做出一些渺小貢獻(xiàn)。
[Abstract]:Looking at the development of the times from the point of view of the development of things, the Chinese lacquer painting must go out of the closed misunderstanding and look at it from the perspective of development.Modern lacquer painting is a new form of painting in the art world and has developed rapidly in the multi-element era.But through study and research, it is found that Chinese lacquer painting originates from China, while modern lacquer painting flourishes in southern China as a medium and small scale development and spread of small craft painting.This is also the biggest obstacle to the development of the northern lacquer process, but it does not mean that there is no room for the development of the lacquer process in the north. The history of the lacquer process originated in China, and the cultural themes of the modern lacquer technology with Chinese characteristics are dominated by the cultural elements of the humanities and geography of the South.From the angle of artistic language of lacquer technology, this paper analyzes the space of sustainable development of lacquer art culture. In the application of modern Chinese lacquer painting subject matter, the flower, bird, fish and insect are the most typical theme elements, and the humanistic environmental factors of southern China.Historical development factors are closely related. Such subjects can only represent the regional culture of northern China, but Chinese culture has spread all over the country for thousands of years. The above themes do not represent the whole Chinese culture, such as birds and beasts in the north.Bold magnificent mountains and rivers are also important elements of lacquer art subject matter to be explored, which is one of the reasons why lacquer art originated from China but flourished in Japan and Vietnam.Another important reason is how to change the lacquer process from a small group to a national one, which is typical of Japan, where the lacquer ware is truly transformed from art to everyday decoration, which is the key to the development of lacquer culture.So the space for sustainable development of the northern lacquer process is very large and extensive.My thesis studies the artistic language of ancient lacquer technology, its origin, the influence of the relationship with Chinese history and culture on the world, and the spread and development of lacquer technology characteristics under the external conditions of northern China.Through practical research in Fujian, Fuzhou and other places, and returning to the north to analyze the painters' works in the northern part of our country, the paper makes a detailed and progressive study and innovation on the factors related to the lacquer painting craft, and draws some opinions of its own.Hope to throw a brick to attract jade, for the development of modern Chinese lacquer technology and the production of northern lacquer technology to make some small contributions.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J213.9

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