本文選題：藏式建筑　切入點(diǎn)：外墻布品　出處：《蘇州大學(xué)》2013年碩士論文

【摘要】：西藏是一個(gè)儲(chǔ)備了眾多的地域性裝飾符號(hào)的巨大母體,作為中國(guó)傳統(tǒng)的藏族聚居地,地域建筑有著悠久歷史和傳統(tǒng)。近年來(lái)隨著西部開發(fā)和藏域經(jīng)濟(jì)文化產(chǎn)業(yè)的發(fā)展,如何保持地域特色,避免喪失本土化及個(gè)性化,如何運(yùn)用光大如此豐厚的裝飾元素,是一個(gè)對(duì)于我們或者說(shuō)對(duì)于從事裝飾設(shè)計(jì)方面的設(shè)計(jì)者們,值得去關(guān)注和探討的領(lǐng)域。 在西藏地區(qū)傳統(tǒng)社會(huì)文化氛圍中,宗教是其中的一個(gè)重要的支配因素,與其關(guān)聯(lián)的藏式傳統(tǒng)建筑如寺廟、宮殿等,都可以說(shuō)是藏族傳統(tǒng)地域建筑當(dāng)中的代表,與其相適應(yīng)的裝飾及色彩的運(yùn)用,在藏式建筑中有著及其重要的地位,極具民族特征,以這種色彩為基底的、附屬于藏式建筑外墻的種種布品裝飾,也蘊(yùn)含著與之配套的文化內(nèi)涵。雖然他們只是藏式建筑中的一小分子,但絕對(duì)是那其中的點(diǎn)睛之筆。 論文選擇從藏式建筑裝飾及色彩這一角度為出發(fā)點(diǎn),結(jié)合已有相關(guān)資料對(duì)其進(jìn)行較為全面的解析研究,通過(guò)實(shí)地調(diào)研和研究,掌握藏式建筑外墻布品裝飾元素的主要特征,對(duì)如何在今后不同設(shè)計(jì)領(lǐng)域中,尤其在裝飾設(shè)計(jì)方面,結(jié)合裝飾及色彩的應(yīng)用來(lái)進(jìn)行探討。論文首先綜述藏地人文、宗教背景,地理環(huán)境、氣候以及宗教文化對(duì)西藏建筑的影響,介紹藏式獨(dú)特的建筑文化。然后,結(jié)合實(shí)地調(diào)研資料,歸納藏式建筑外墻布品裝飾各個(gè)種類、題材、紋樣等方面的特征,總結(jié)藏式建筑外墻布品裝飾的整體內(nèi)涵,分析藏式建筑外墻布品裝飾的文化成因,歸納布品裝飾手法運(yùn)用特征和規(guī)律,以及當(dāng)今的發(fā)展方向和趨勢(shì)。 在文章的最后,結(jié)合當(dāng)前的現(xiàn)狀和地域裝飾創(chuàng)作傾向,依據(jù)西藏地區(qū)特殊的人文背景,提出藏式裝飾元素在現(xiàn)代裝飾藝術(shù)設(shè)計(jì)中的應(yīng)用以及其現(xiàn)實(shí)意義。然后以弘揚(yáng)傳統(tǒng)文化為原則,設(shè)計(jì)中再現(xiàn)傳統(tǒng)形式、創(chuàng)新傳統(tǒng)形式等應(yīng)用方法,最后通過(guò)多元、開放的創(chuàng)作思維,對(duì)今后應(yīng)用提出相關(guān)的裝飾藝術(shù)設(shè)計(jì)手法上的創(chuàng)新思路。
[Abstract]:Tibet is a huge mother body with a large number of regional decorative symbols. As a traditional Tibetan settlement in China, regional architecture has a long history and tradition.In recent years, with the development of the western region and the Tibetan economic and cultural industry, how to maintain the regional characteristics, avoid the loss of localization and individualization, and how to use such rich decorative elements,For us or for designers engaged in decorative design, it is worth paying attention to and exploring the field.In the traditional social and cultural atmosphere in Tibet, religion is one of the important dominating factors. Tibetan traditional buildings associated with them, such as temples and palaces, can all be said to be representatives of Tibetan traditional regional architecture.The matching decoration and the use of colors play an extremely important role in Tibetan architecture, and have extremely national characteristics. Based on this color, all kinds of cloth ornaments attached to the external walls of Tibetan buildings are decorated.It also contains its cultural connotations.Although they are only a small part of Tibetan architecture, they are definitely the finishing touch.This paper chooses the Tibetan architecture decoration and the color as the starting point, unifies the related data to carry on the relatively comprehensive analysis research, through the field investigation and the research, grasps the Tibetan building exterior wall cloth decoration element main characteristic,This paper discusses how to combine decoration and color in different design fields in the future, especially in decoration design.Firstly, the paper summarizes the influence of Tibetan culture, religious background, geographical environment, climate and religious culture on Tibetan architecture, and introduces the unique Tibetan architectural culture.Then, combined with the field investigation data, the paper summarizes the characteristics of various types, themes, patterns and other aspects of the fabric decoration of the external wall of Tibetan architecture, sums up the overall connotation of the fabric decoration of the external wall of the Tibetan architecture, and analyzes the cultural causes of the fabric decoration of the external wall of the Tibetan architecture.This paper summarizes the characteristics and rules of cloth decoration, and the development direction and trend.At the end of the article, according to the present situation and the tendency of regional decoration creation, according to the special humanistic background in Tibet, the application of Tibetan decorative elements in modern decorative art design and its practical significance are put forward.Then in order to carry forward the traditional culture as the principle, the design reproduces the traditional form, innovates the traditional form and so on the application method, finally through the plural, the open creation thought, proposed the related decoration art design technique innovation thought to the future application.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：TU-86

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

1 李強(qiáng);;帕邦卡和瑪茹堡的歷史源流問(wèn)題考——實(shí)地考察中遇到的幾個(gè)問(wèn)題解答[J];才智;2012年01期

2 羅布江村;楊嘉銘;;藏族面具文化的歷史探源——兼述藏族面具活態(tài)遺存的基本要素[J];中國(guó)藏學(xué);2006年03期

3 王繼光;;18世紀(jì)中國(guó)第一部安多藏區(qū)史——《明史·西番諸衛(wèi)傳》的現(xiàn)代詮釋[J];中國(guó)藏學(xué);2006年04期

4 林冠群;;吐蕃“尚論掣逋突瞿”考釋——《新唐書·吐蕃傳》誤載舉隅[J];中國(guó)藏學(xué);2008年03期

5 陳楠;;P.T.999號(hào)敦煌藏文寫卷再研究——以往漢譯本比較及相關(guān)史事補(bǔ)正與考辨[J];中國(guó)藏學(xué);2008年03期

6 土呷;;“朵麥基巧”沿革考[J];中國(guó)藏學(xué);2009年01期

7 土呷;;論昌都地區(qū)在推進(jìn)西藏歸入中國(guó)版圖歷史進(jìn)程中的重要作用[J];中國(guó)藏學(xué);2010年03期

8 龍珠多杰;;藏族寺院建筑選址文化探微[J];中國(guó)藏學(xué);2010年03期

9 土呷;;向生·西繞松布與西藏昌都強(qiáng)巴林寺建寺年代新考[J];中國(guó)藏學(xué);2010年04期

10 阿音娜;;崔比科夫游記中的蒙藏地名考[J];中國(guó)藏學(xué);2010年04期

相關(guān)博士學(xué)位論文 前10條

1 孫娟;從世俗到神圣[D];中央民族大學(xué);2011年

2 陳鑒濰;寧瑪派隆欽饒絳巴研究[D];中央民族大學(xué);2011年

3 龍珠多杰;藏傳佛教寺院建筑文化研究[D];中央民族大學(xué);2011年

4 黃杰華;漢藏寶，

本文編號(hào)：1717435