發(fā)布時(shí)間：2018-05-15 20:11

  本文選題：傳統(tǒng)青花 + 裝飾��； 參考：《景德鎮(zhèn)陶瓷學(xué)院》2011年碩士論文

【摘要】：在人類文明發(fā)展的進(jìn)程中,人類的一切造物活動(dòng)都是以“服務(wù)于生活”為根本需求而展開的,青花瓷器的創(chuàng)造和發(fā)展也不例外。傳統(tǒng)青花瓷器作為傳統(tǒng)手工陶瓷的一種,與人們的日常生活與審美需求息息相關(guān),古往今來都在扮演著極其重要的角色。 青花瓷是傳統(tǒng)手工陶瓷藝術(shù)的一個(gè)重要組成部分,是人類造物活動(dòng)的物化體現(xiàn),它以實(shí)用為主要目的服務(wù)于人類生活,并以美的形式訴諸人的感官,體現(xiàn)著實(shí)用與審美的協(xié)調(diào)統(tǒng)一。傳統(tǒng)青花裝飾藝術(shù)是建立在裝飾載體的實(shí)用功能基礎(chǔ)上而進(jìn)行的美化藝術(shù),它以豐富多彩的裝飾形式極大地提高了陶瓷裝飾對(duì)自然與生活的表現(xiàn)力,豐富了載體的視覺美感,在取悅審美者視覺感官的同時(shí)也表達(dá)出創(chuàng)造者的精神主旨。縱觀傳統(tǒng)青花瓷器的發(fā)展脈絡(luò),從唐代的初創(chuàng),到元代的成熟,再到明清時(shí)期的蓬勃發(fā)展,它歷經(jīng)千年歲月的磨練和洗禮,為中華民族燦爛的陶瓷文明譜寫了輝煌的一頁。時(shí)至今日,作為非物質(zhì)文化遺產(chǎn)的傳統(tǒng)青花裝飾藝術(shù)所承載的不僅僅是那歷經(jīng)千年而不褪的青白圖案,而是古代勞動(dòng)創(chuàng)造者對(duì)傳統(tǒng)設(shè)計(jì)觀的理解、運(yùn)用和發(fā)揚(yáng),同時(shí)也是一種對(duì)民族歷史、文化和精神的記錄與傳承。 本文從設(shè)計(jì)學(xué)研究角度出發(fā),結(jié)合裝飾審美法則分別闡釋了傳統(tǒng)青花裝飾的整體構(gòu)圖、裝飾色彩以及裝飾題材等組成要素所體現(xiàn)出的樸實(shí)設(shè)計(jì)觀,并結(jié)合當(dāng)代陶瓷裝飾的時(shí)代特點(diǎn)闡述了傳統(tǒng)青花裝飾藝術(shù)對(duì)當(dāng)代陶瓷裝飾設(shè)計(jì)的價(jià)值和意義。指出在非物質(zhì)文化遺產(chǎn)保護(hù)語境中,對(duì)傳統(tǒng)青花裝飾設(shè)計(jì)觀和制作技藝的傳承、創(chuàng)新的重要性和深遠(yuǎn)意義。
[Abstract]:In the course of the development of human civilization, all creation activities of human beings are carried out with the basic demand of "serving life", and the creation and development of blue and white porcelain is no exception. As a kind of traditional handicraft ceramics, traditional blue-and-white porcelain is closely related to people's daily life and aesthetic needs, and plays an extremely important role throughout the ages. Blue and white porcelain is an important part of traditional handicraft ceramic art and the materialized embodiment of human creation activities. It serves human life with the main purpose of practicality and appeals to human senses in the form of beauty. It embodies the harmony of utility and aesthetics. Traditional blue and white decorative art is a beautification art based on the practical function of decorative carrier. It greatly improves the expression of ceramic decoration to nature and life, and enriches the visual aesthetic sense of carrier. While pleasing the aesthetic's visual senses, it also expresses the spiritual purport of the creators. Throughout the development of traditional blue and white porcelain, from the founding of the Tang Dynasty to the maturity of the Yuan Dynasty, to the vigorous development of the Ming and Qing dynasties, it has undergone millennia of practice and baptism, which has written a brilliant page for the splendid ceramic civilization of the Chinese nation. Today, as an intangible cultural heritage, the traditional blue and white decorative art bears not only the green and white patterns that have gone through thousands of years, but also the understanding, application and development of the traditional design view by the ancient labor creators. It is also a record and inheritance of national history, culture and spirit. In this paper, from the angle of design research, combined with the aesthetic principle of decoration, the author explains the simple design view of traditional blue and white decoration, such as composition, color and theme of decoration, etc. Combined with the characteristics of contemporary ceramic decoration, the value and significance of traditional blue and white decorative art to contemporary ceramic decoration design are expounded. It is pointed out that in the context of intangible cultural heritage protection, the importance and far-reaching significance of innovation in the inheritance of traditional blue and white decoration design view and production technique are pointed out.
【學(xué)位授予單位】：景德鎮(zhèn)陶瓷學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J527

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 李硯祖;;嬰戲青花別樣紅——呂金泉現(xiàn)代瓷藝賞析[J];美術(shù)觀察;2010年06期

2 張道一;;封建意識(shí)在祝福圖案上的反映[J];南京藝術(shù)學(xué)院學(xué)報(bào)(音樂與表演版);1978年01期

3 李硯祖;;設(shè)計(jì)的智慧——中國(guó)古代設(shè)計(jì)思想史論綱[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2008年04期

4 呂金泉;章晨;;從傳統(tǒng)青花裝飾藝術(shù)看“設(shè)計(jì)”[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2011年01期

5 曹建文;民間青花裝飾藝術(shù)的審美特征及現(xiàn)代意義[J];設(shè)計(jì)藝術(shù);2004年03期

6 呂金泉;;陶藝家與匠人[J];文藝研究;2010年03期

7 胡美生;;青花藝術(shù)的風(fēng)格特點(diǎn)和裝飾規(guī)律[J];瓷器;1980年04期

8 胡美生;對(duì)明代民間青花的再認(rèn)識(shí)與思考[J];中國(guó)陶瓷;1994年01期

9 梁梅;設(shè)計(jì)前景[J];裝飾;1995年03期

相關(guān)碩士學(xué)位論文 前1條

1 王浩;從開光裝飾看紋章瓷與克拉克瓷的關(guān)系[D];景德鎮(zhèn)陶瓷學(xué)院;2007年

，

本文編號(hào)：1893767