本文選題：滿族　切入點(diǎn)：裝飾藝術(shù)　出處：《南京林業(yè)大學(xué)》2011年碩士論文

【摘要】：地域特色的室內(nèi)設(shè)計(jì)是今后室內(nèi)設(shè)計(jì)發(fā)展的一個(gè)重要方向。現(xiàn)今滿族特色的室內(nèi)設(shè)計(jì)并不多見,而滿族特色的室內(nèi)設(shè)計(jì)體現(xiàn)了非常鮮明的地域特色,所以對(duì)它的研究有很好地發(fā)展前景。 滿族是一個(gè)善于學(xué)習(xí)、創(chuàng)新、求發(fā)展的民族。滿族文化是對(duì)女真文明、蒙古文明和漢文明的繼承和吸納下發(fā)展起來的。從滿族入主中原以來,隨著時(shí)間的推移,很多滿族的文化符號(hào)和元素已經(jīng)完全融入中華文化這個(gè)大共體中,如旗袍、坎肩、滿漢全席、薩其馬、沈陽故宮等,很少使人想起它們是滿族的。滿族民族共同體形成于清初,其成員包括當(dāng)時(shí)生活在東北地區(qū)以至東海邊的女真諸部及部分留居這個(gè)地域的蒙族、漢族和朝鮮族。滿族歷史悠久,是東北地區(qū)最早見于歷史文獻(xiàn)的少數(shù)民族,其先人可追溯到周秦時(shí)代的肅慎。所以,研究東北地區(qū)的滿族裝飾藝術(shù)有很強(qiáng)的代表性和實(shí)用價(jià)值。 本文主要以沈陽地區(qū)、吉林地區(qū)有代表性的滿族建筑裝飾藝術(shù)為主線進(jìn)行研究。通過大量的文獻(xiàn)和圖片資料,以及實(shí)地調(diào)查,對(duì)滿族裝飾藝術(shù)加以提煉,從影響滿族建筑裝飾藝術(shù)的區(qū)域環(huán)境,到滿族建筑裝飾藝術(shù)、室內(nèi)裝飾藝術(shù)、紋樣、色彩方面進(jìn)行研究,最后借助案例分析,對(duì)滿族裝飾藝術(shù)的運(yùn)用加以研究。希望通過室內(nèi)設(shè)計(jì)傳承的三種方法,很好地把滿族裝飾藝術(shù)應(yīng)用到現(xiàn)代室內(nèi)設(shè)計(jì)中。 滿族裝飾藝術(shù)中帶有精神信念的視覺符號(hào)不但體現(xiàn)了滿族特色的室內(nèi)空間,而且很容易被欣賞者接受。由于現(xiàn)今滿族特色的室內(nèi)設(shè)計(jì)并不多見,局限了對(duì)滿族裝飾藝術(shù)的繼承和發(fā)展,希望通過本人的研究能對(duì)滿族特色的室內(nèi)設(shè)計(jì)在繼承、發(fā)展和創(chuàng)新上能夠提供借鑒。
[Abstract]:The interior design with regional characteristics is an important direction of interior design development in the future. Nowadays, the interior design with Manchu characteristics is rare, while the interior design with Manchu characteristics embodies very distinct regional characteristics. Therefore, the research on it has a good development prospects. Manchu is a nation that is good at learning, innovating and developing. Manchu culture is inherited and absorbed from Nu Zhen civilization, Mongolian civilization and Han civilization. Since Manchu took over the Central Plains, with the passage of time, Many of the Manchu cultural symbols and elements have been fully integrated into the Chinese culture, such as cheongsam, kangkuan, Manchu, Sachima, Shenyang The Imperial Palace and so on, rarely reminiscing that they are Manchu. The Manchu National Community was formed in the early Qing Dynasty. Its members included the Nu Zhen and some of the Mongols, Han and Korean, who lived in the northeast and even the east seaside. The Manchu nationality had a long history and was the first ethnic minority in the Northeast to be found in historical documents. Therefore, the study of Manchu decorative art in Northeast China has strong representativeness and practical value. This article mainly takes the representative Manchu architectural decoration art in Shenyang and Jilin as the main line. Through a large number of documents and pictures, as well as field investigation, the Manchu decorative art is refined. From the regional environment that affects the Manchu architectural decoration art, to the Manchu architectural decoration art, interior decoration art, pattern, color aspects of research, finally with the help of a case study, This paper studies the application of Manchu decorative art and hopes to apply Manchu decorative art to modern interior design through three methods of inheriting interior design. The visual symbols with spiritual beliefs in Manchu decorative art not only embody the interior space with Manchu characteristics, but also are easily accepted by appreciators. As the interior design with Manchu characteristics is rare nowadays, Limited to the inheritance and development of Manchu decorative art, I hope through my research on the characteristics of Manchu interior design in inheritance, development and innovation can provide reference.
【學(xué)位授予單位】：南京林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：TU238.2

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 冬利;滿族居住形態(tài)的建筑人類學(xué)解讀[D];中央民族大學(xué);2012年

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本文編號(hào)：1695205