本文選題：清代結(jié)子裝飾 + 人物紋樣　； 參考：《東北林業(yè)大學(xué)》2013年碩士論文

【摘要】：結(jié)子裝飾部件作為清代部件裝飾的點(diǎn)睛之筆,是清代裝飾部件研究中不可缺少的一部分,本文是從清代人物裝飾結(jié)子的基本形態(tài)和紋樣特征兩個(gè)方面對(duì)清代人物裝飾結(jié)子展開較為系統(tǒng)深入的研究。本研究一定程度上完善了清代裝飾部件研究的理論體系,可為清代人物裝飾部件的修復(fù)和現(xiàn)代仿古家具部位裝飾的應(yīng)用提供依據(jù)。 對(duì)清代人物裝飾結(jié)子基本形態(tài)的研究,采用個(gè)案分析法和歸納法,通過分析外部輪廓形態(tài)的形態(tài)樣式,歸納出外部輪廓形態(tài)的形態(tài)特征；通過分析內(nèi)部紋樣形態(tài)的形態(tài)樣式,歸納出內(nèi)部紋樣形態(tài)的形態(tài)特征,從而得出清代人物裝飾結(jié)子的基本形態(tài)規(guī)律。研究表明：外部輪廓形態(tài)中四邊形類和近似四邊形類結(jié)子視覺識(shí)別力高,造型靜態(tài),多填補(bǔ)較規(guī)則裝飾空缺,特殊形態(tài)類和輪廓形態(tài)類結(jié)子形制復(fù)雜,造型動(dòng)態(tài),多填補(bǔ)較不規(guī)則裝飾空缺：內(nèi)部紋樣形態(tài)中單人紋樣內(nèi)部形態(tài)人物為主體,層次感弱,人物通常居中分布,雙人紋樣內(nèi)部形態(tài)人物之間主輔明確,層次感強(qiáng),人物通常并列疊加分布,多人紋樣內(nèi)部形態(tài)人物之間主輔不鮮明,層次感強(qiáng),人物通常奇偶聚散分布 對(duì)清代人物裝飾結(jié)子紋樣特征的研究,采用個(gè)案分析法和歸納法,通過分析神仙人物紋樣、戲曲人物紋樣以及民俗人物紋樣的形態(tài)樣式,歸納出三者的紋樣特征,從而得出清代人物裝飾結(jié)子的紋樣特征規(guī)律。研究表明：神仙人物紋樣中,人物表情莊重,身形勻稱常有配對(duì)呼應(yīng)關(guān)系,衣著寬大,裝飾質(zhì)樸,褶皺疏密有度,人物多為靜態(tài)表現(xiàn),主體表達(dá)主要通過不同仙人形象所持的特殊物件：戲曲人物紋樣中,人物表情符合角色特征,面部無明顯臉譜特征,衣著適合身形,通常裝飾繁瑣,具戲曲服飾特征,多為戲曲故事情節(jié)的展現(xiàn)產(chǎn)生相應(yīng)動(dòng)勢,主體表達(dá)主要通過人物形象身材及服飾裝扮的設(shè)定民俗人物紋樣中,人物表情歡愉,面部刻畫粗糙,衣著生活化,裝飾樸素,褶皺淡化,同紋樣中常出現(xiàn)動(dòng)靜相依的動(dòng)勢表現(xiàn)關(guān)系,場面感強(qiáng),主體表達(dá)主要通過常見的民俗生活用具的刻畫及生活化的人物形象的設(shè)定。
[Abstract]:As the finishing touch of the decoration of the Qing Dynasty, the Jiaozi decorative part is an indispensable part of the research on the decorative parts in the Qing Dynasty. This paper makes a systematic and in-depth study on the decorative knot of the Qing Dynasty from two aspects: the basic form and the pattern characteristics of the decorative knot of the characters in the Qing Dynasty. To a certain extent, this study has perfected the theoretical system of the research on the decorative parts of Qing Dynasty, which can provide the basis for the restoration of the decorative parts of the figures in the Qing Dynasty and the application of the decorative parts of the modern antique furniture. Based on the study of the basic shape of decorative knot in Qing Dynasty, the paper adopts case analysis and induction, through analyzing the morphological style of external contour, induces the morphological characteristics of external contour, and analyzes the morphological style of internal pattern. The morphological characteristics of internal patterns were summarized, and the basic morphological rules of decorative knot in Qing Dynasty were obtained. The results show that: the visual recognition ability of quadrilateral and approximate quadrilateral cubes is high, the modeling is static, more regular decorative vacancies are filled, the shape of special shape and contour shape is complex, and the shape is dynamic. Fill in more irregular decorative vacancies: in the internal pattern form single pattern internal shape characters as the main body, the level feeling is weak, the character usually distributes in the center, the double pattern interior shape figure between the main and auxiliary is clear, the stratification feeling is strong, The characters are usually juxtaposed and distributed, the main and auxiliary characters are not distinct, the sense of hierarchy is strong, and the distribution of characters is usually odd and even. In this paper, the characters of decorative knots in Qing Dynasty are studied. By using the method of case analysis and induction, by analyzing the patterns of immortals, opera characters and folk characters, we can conclude the patterns of the three patterns. Thus, the pattern characteristics of decorative knot in Qing Dynasty were obtained. The research shows that in the patterns of immortals, the characters have a solemn expression, and the figure is well-proportioned with a matching relationship. They are dressed in large clothes, simple in decoration, dense and dense in folds, and most of the characters are static. The expression of the subject is mainly through the special objects held by different immortals: in the patterns of the characters of the opera, the expression of the characters accords with the character characteristics, the facial features have no obvious facial features, the clothes are suitable for the body shape, usually the decoration is cumbersome, and they have the characteristics of the costumes of the opera. The main expression of the main body mainly through the figure figure and dress dress in the setting folk character pattern, the character expression is happy, the facial depiction is rough, the clothing life, the decoration simple, the main body expression mainly through the character figure figure and the clothing dress setting folk custom character pattern, the facial expression is rough, the clothing life is suitable, the decoration simple, Fold desalination, dynamic and dynamic relations often appear in the pattern, the sense of scene is strong, the main body expression is mainly through the common folk life utensils of depiction and the setting of the living character image.
【學(xué)位授予單位】：東北林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J522

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