本文選題：社旗山陜會(huì)館 + 建筑裝飾藝術(shù)　； 參考：《蘇州大學(xué)》2007年碩士論文

【摘要】： 建筑遺產(chǎn)是“人類記憶”的重要部分,并且,建筑是一切藝術(shù)的載體,它承載了建筑裝飾藝術(shù),所以研究建筑藝術(shù)而不了解建筑裝飾,那么這種研究則是不全面的。過去對(duì)傳統(tǒng)建筑裝飾的研究多偏重于宮廷建筑,而往往忽視了民間建筑,其實(shí),民間建筑裝飾藝術(shù)是極其豐富且范圍非常廣泛。 在豫西南的社旗古鎮(zhèn)上,保存著一處目前全國(guó)范圍內(nèi)罕見的較為完整的清代商業(yè)會(huì)館——社旗山陜會(huì)館。它是國(guó)家重點(diǎn)文物保護(hù)單位。其建筑集中了河南、山西兩省民居和宮殿建筑藝術(shù)的精華,富麗堂皇、雍容華貴、風(fēng)格獨(dú)特。其建筑裝飾藝術(shù)極其精美,特別是館內(nèi)“三絕”——眾多精美的石雕、木雕、磚雕是清代民間建筑藝術(shù)與建筑裝飾藝術(shù)的精品,建筑裝飾華麗壯觀,注重全方位、立體式、多視角的藝術(shù)效果。其屋頂琉璃裝飾、照壁裝飾及建筑群整體的色彩搭配極其科學(xué)且富于中國(guó)傳統(tǒng)觀念,具有深厚的文化內(nèi)涵。社旗山陜會(huì)館是我國(guó)古代民間建筑裝飾藝術(shù)中一個(gè)彌足珍貴的文化遺產(chǎn)。它的建筑設(shè)計(jì)和裝飾風(fēng)格顯示了民間建筑與宮廷建筑的差異性,同時(shí)也對(duì)宮廷建筑裝飾藝術(shù)加以吸取,呈現(xiàn)出其風(fēng)格的獨(dú)特性,突出了山陜商人的經(jīng)營(yíng)理念,也涵蓋了傳統(tǒng)文化的哲理,是當(dāng)時(shí)儒、佛、道哲學(xué)理念相互融合的典型代表,在建筑裝飾設(shè)計(jì)中處處帶有清晰的清代儒商意識(shí)形態(tài)的印記。 目前,隨著全球經(jīng)濟(jì)一體化進(jìn)程的加速,如何保持自己民族文化的個(gè)性,是世界各國(guó)都關(guān)心的重要問題。因?yàn)槲幕z產(chǎn)是各民族用自己的雙手和心靈創(chuàng)造的,它是民族性格的一種直接表現(xiàn),是民族情感、民族凝聚力的一個(gè)縮影。 本文分析、研究社旗山陜會(huì)館建筑裝飾藝術(shù),旨在從理論上揭示傳統(tǒng)文化的精髓,使我們對(duì)中國(guó)古代民間建筑裝飾藝術(shù)的認(rèn)識(shí)更加深入,以加強(qiáng)對(duì)文化遺產(chǎn)的保護(hù)意識(shí)。因?yàn)?“只有民族的才是世界的”。社旗山陜會(huì)館建筑裝飾藝術(shù)是一種具有個(gè)性的文化現(xiàn)象,它豐富的人文內(nèi)涵、深厚的文化積淀以及高超的工藝技巧都有值得我們發(fā)掘和探尋的價(jià)值。開啟社旗山陜會(huì)館建筑裝飾藝術(shù)研究的意義還在于,通過對(duì)社旗山陜會(huì)館建筑裝飾的研究,探討它的工藝文化特征和設(shè)計(jì)藝術(shù)美學(xué)思想,從我國(guó)古代傳統(tǒng)裝飾藝術(shù)入手,深入到傳統(tǒng)圖形的精神領(lǐng)域內(nèi)部進(jìn)行領(lǐng)悟,再在現(xiàn)代西方設(shè)計(jì)思潮的基礎(chǔ)上,兼收并蓄,融會(huì)貫通,設(shè)計(jì)出屬于我們民族的同時(shí)又是世界的設(shè)計(jì)作品。也許在保留傳統(tǒng)發(fā)展現(xiàn)代設(shè)計(jì)的進(jìn)程中,這樣不但可以更好的保護(hù)我們的傳統(tǒng)的藝術(shù)形式,還可以為現(xiàn)代設(shè)計(jì)藝術(shù)增添民族性的設(shè)計(jì)語(yǔ)言。
[Abstract]:Architectural heritage is an important part of "human memory", and architecture is the carrier of all art, it bears architectural decorative art, so it is not comprehensive to study architectural art without knowing architectural decoration. In the past, the study of traditional architectural decoration focused on the palace architecture, but often ignored the folk architecture. In fact, the folk architecture decoration art is extremely rich and very extensive. In the ancient town of social flag in southwestern Henan province, there is a relatively complete Qing Dynasty Commercial Guild Hall-Shan Shan Guild Hall, which is rare in the whole country at present. It is the state key cultural relics protection units. Its architecture concentrated in Henan, Shanxi Province residential and palace architectural art essence, magnificent, elegant, unique style. Its architectural decoration art is extremely exquisite, especially in the museum "three absolutely"-numerous exquisite stone carving, wood carving, brick carving is the Qing Dynasty folk architectural art and architectural decoration art, magnificent architectural decoration, pay attention to all aspects, three-dimensional, The artistic effect of multiple perspectives. Its roof glaze decoration, wall decoration and the overall color collocation of the building group are extremely scientific and abound in Chinese traditional ideas, and have profound cultural connotations. Shanshan Guild Hall is a precious cultural heritage in the decorative art of ancient folk architecture in China. Its architectural design and decoration style show the difference between folk architecture and court architecture. At the same time, it absorbs the decorative art of court architecture, presents its unique style, and highlights the business philosophy of Shan and Shan merchants. It also covers the philosophy of traditional culture, which is a typical representative of the integration of Confucianism, Buddhism and Taoism philosophy at that time. In architectural decoration design, there is a clear ideological mark of Confucian merchants in Qing Dynasty. At present, with the acceleration of the process of global economic integration, how to maintain the individuality of national culture is an important issue concerned by all countries in the world. Because the cultural heritage is created by each nationality with its own hands and soul, it is a direct expression of national character and a microcosm of national emotion and national cohesion. The purpose of this paper is to reveal the essence of traditional culture in order to deepen our understanding of the decorative art of ancient Chinese folk architecture in order to strengthen the sense of protection of cultural heritage in order to study the architectural decoration art of Shanshan Guild Hall of the social flag in order to reveal the essence of traditional culture theoretically. Because, "only the nation is the world." The architectural decoration art of Shanshan Guild Hall is a kind of cultural phenomenon with individual character. Its rich humanistic connotation, profound cultural accumulation and superb craft skill have the value that we should explore and explore. The significance of the research on architectural decoration art of Shanshan Guild Hall is that, through the study of architectural decoration of Shanshan Guild Hall of Sheqi County, this paper probes into the characteristics of craft culture and aesthetic thought of design art, starting with the traditional decorative art of ancient China. Deep into the spiritual field of traditional graphics to understand, and then on the basis of modern Western design trend of thought, eclectic, integrated, designed to belong to our nation at the same time is the world's design works. Perhaps in the process of retaining the traditional development of modern design, this can not only better protect our traditional art form, but also can add national design language for modern design art.
【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】：2007
【分類號(hào)】：TU-80;TU238

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 任麗麗;趙俊學(xué);;哈爾濱馬迭爾賓館建筑裝飾藝術(shù)研究[J];大眾文藝;2011年11期

相關(guān)博士學(xué)位論文 前1條

1 趙世學(xué);設(shè)計(jì)學(xué)視野中的重慶湖廣會(huì)館與河南山陜會(huì)館之比較[D];武漢理工大學(xué);2012年

相關(guān)碩士學(xué)位論文 前2條

1 任麗麗;哈爾濱馬迭爾賓館建筑裝飾藝術(shù)研究[D];東北林業(yè)大學(xué);2012年

2 張瑞濤;三原城隍廟空間組織與裝飾藝術(shù)研究[D];西安建筑科技大學(xué);2012年

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本文編號(hào)：1796772