本文選題：沁陽清真北大寺　切入點(diǎn)：裝飾藝術(shù)　出處：《河南師范大學(xué)》2017年碩士論文

【摘要】：我國伊斯蘭教清真寺的傳統(tǒng)建筑,在伊斯蘭裝飾藝術(shù)技法的基礎(chǔ)上,充分融入了中國木結(jié)構(gòu)建筑及裝飾藝術(shù)的精髓,夾雜著封建等級制度及觀念的約束和發(fā)展,形成了極具特色的中國清真寺的建筑風(fēng)格及裝飾藝術(shù)。這種雙重文化架構(gòu)下所呈現(xiàn)的特殊藝術(shù),是我國回漢各族人民共同創(chuàng)造的見證和智慧的結(jié)晶。在我國實(shí)施“一帶一路”國際戰(zhàn)略的背景下,對其建筑風(fēng)格和裝飾藝術(shù)所具有的歷史價(jià)值、文化價(jià)值和藝術(shù)價(jià)值等進(jìn)行深入探討和研究,具有重要的現(xiàn)實(shí)意義。沁陽清真北大寺是中原地區(qū)較早的清真寺之一,其建筑雄偉,獨(dú)具特色,雖經(jīng)歷代多次進(jìn)行修葺,但整體保存完整。其特殊的裝飾風(fēng)格深受伊斯蘭文化和中國傳統(tǒng)文化的雙重影響,體現(xiàn)了文化的兼容并蓄。本文旨在通過對沁陽清真北大寺建筑裝飾藝術(shù)進(jìn)行個(gè)案分析,在其建筑歷史的基礎(chǔ)上,結(jié)合中國元、明、清時(shí)期建筑的裝飾藝術(shù)風(fēng)格,對其裝飾藝術(shù)特征中的題材、形式和表現(xiàn)手法等進(jìn)行剖析,從而在我國伊斯蘭建筑的寶庫中,厘清其裝飾藝術(shù)中所呈現(xiàn)的人文氣息和文化脈絡(luò),體現(xiàn)了我國各民族和諧共處、繁榮發(fā)展的文化內(nèi)涵。本文首先從中國傳統(tǒng)清真寺裝飾藝術(shù)入手,從而過渡到沁陽清真北大寺的歷史概況及裝飾藝術(shù)現(xiàn)狀。其次,依次通過對琉璃、彩繪、石雕、斗拱等裝飾藝術(shù)形式來體現(xiàn)沁陽清真北大寺建筑裝飾藝術(shù)的形態(tài)及特征。最后,深入挖掘沁陽清真北大寺裝飾藝術(shù)中所蘊(yùn)含的文化底蘊(yùn)。
[Abstract]:The traditional architecture of Islamic mosques in China, based on the techniques of Islamic decorative art, fully integrates the essence of Chinese wooden structure architecture and decorative art, and combines the restraint and development of feudal hierarchy system and ideas.Has formed the extremely characteristic Chinese mosque's architectural style and the decoration art.The special art presented under this double-cultural framework is a witness and a crystallization of wisdom created by the people of all nationalities in China.Under the background of carrying out the international strategy of "Belt and Road" in our country, it is of great practical significance to probe into and study the historical value, cultural value and artistic value of the architectural style and decorative art.Qinyang Qingzhen Beida Temple is one of the earlier mosques in the Central Plains. Its architecture is magnificent and unique, although it has been repaired many times in the past dynasties, but it has been preserved as a whole.Its special decorative style is deeply influenced by Islamic culture and Chinese traditional culture, which embodies the cultural inclusiveness.The purpose of this paper is to analyze the architectural decoration art of Qingyang Qingzhen Beida Temple by case study, on the basis of its architectural history, combining the decorative art style of architecture in the Yuan, Ming and Qing dynasties of China, as well as the themes of its decorative art features.Through analyzing the form and expression techniques, we can clarify the humanistic atmosphere and cultural context in the decorative art of Islamic architecture in our country, and embody the cultural connotation of harmonious coexistence and prosperous development of all ethnic groups in our country.This article starts with the Chinese traditional mosques decoration art, thus transition to Qinyang Qingzhen Beida Temple history and decorative art status.Secondly, through the decorative art form of glaze, color painting, stone carving, Dougong and so on, it reflects the form and characteristics of architectural decoration art of Qinyang halal Beida Temple.Finally, the deep excavation Qinyang halal Peking Temple decoration art contained in the cultural background.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：TU252

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本文編號：1729096