本文選題：裝飾藝術(shù) + 刺繡��； 參考：《武漢紡織大學(xué)》2013年碩士論文

【摘要】：刺繡是中華傳統(tǒng)藝術(shù)文化中一朵驚彩絕艷的奇葩，是中華民族精神文明的物質(zhì)展現(xiàn)。不同于人們所熟知的四大名繡，漢繡來源于荊楚地區(qū)的民俗文化，是以武漢為主要生產(chǎn)中心的刺繡產(chǎn)品的總稱。漢繡的發(fā)展離不開楚地文化這片肥沃土壤，但是從上世紀(jì)開始，整個(gè)社會(huì)環(huán)境都發(fā)生劇變，逐漸從農(nóng)業(yè)文明進(jìn)步轉(zhuǎn)化到工業(yè)文明社會(huì)。我們的民族傳統(tǒng)手工藝未能馬上適應(yīng)劇烈的社會(huì)大變革，漢繡也在其中。現(xiàn)在的漢繡受工業(yè)化社會(huì)發(fā)展的影響以及人們生活方式變化的影響，已經(jīng)瀕臨滅亡了。由于沒能調(diào)整適應(yīng)時(shí)代以及廣大人民群眾的新需要，漢繡的發(fā)展遇到了嚴(yán)重的困難。長期以來，傳統(tǒng)藝術(shù)一直是社會(huì)各界和設(shè)計(jì)界的關(guān)注重點(diǎn)，正是因?yàn)閭鹘y(tǒng)藝術(shù)來源于老百姓的生活，，因而它獨(dú)具了淳樸的藝術(shù)形式，是中華文明幾千年的積累沉淀的瑰寶�？紤]到傳統(tǒng)裝飾藝術(shù)與現(xiàn)代設(shè)計(jì)在很多方面的共通性，完全可以考慮將傳統(tǒng)的造型元素應(yīng)用到現(xiàn)代設(shè)計(jì)的每個(gè)細(xì)節(jié)當(dāng)中去，這樣的現(xiàn)代設(shè)計(jì)必然有其獨(dú)特的藝術(shù)感染力和生機(jī)，現(xiàn)代設(shè)計(jì)在傳統(tǒng)藝術(shù)這個(gè)藝術(shù)寶庫中可以找到許多靈感和創(chuàng)新的機(jī)會(huì)，而傳統(tǒng)藝術(shù)也可以通過現(xiàn)代設(shè)計(jì)這個(gè)外衣獲得新發(fā)展，使?jié)h繡的現(xiàn)代化進(jìn)度提上日程，更快的順應(yīng)商業(yè)化、市場化的社會(huì)發(fā)展需求，漢繡的地域特色、民俗特色也能得以保存。傳統(tǒng)藝術(shù)漢繡與現(xiàn)代設(shè)計(jì)的結(jié)合將是再現(xiàn)漢繡輝煌的重要途徑。
[Abstract]:Embroidery is a wonderful flower in Chinese traditional art and culture. It is the material display of Chinese spiritual civilization. Different from the well-known four famous embroidery, Han embroidery originated from the folk culture of Jingchu area, and it is the general name of embroidery products with Wuhan as the main production center. The development of Han embroidery can not be separated from the fertile soil of Chu culture, but since the beginning of last century, the whole social environment has undergone dramatic changes, gradually from the progress of agricultural civilization to industrial civilization. Our traditional handicraft failed to adapt to drastic social changes, including Han embroidery. Now the Han embroidery is affected by the development of the industrialized society and the change of people's life style, it is on the verge of extinction. Due to its failure to adjust to the new needs of the times and the broad masses of the people, the development of Han embroidery encountered serious difficulties. For a long time, traditional art has always been the focus of attention of all walks of life and design circles. It is precisely because the traditional art originates from the life of the common people that it has its own simple art form and is the treasure of the accumulation and precipitation of thousands of years of Chinese civilization. Considering the commonality of traditional decorative art and modern design in many aspects, we can fully consider applying traditional modeling elements to every detail of modern design. Such a modern design must have its unique artistic appeal and vitality. Modern design can find many opportunities for inspiration and innovation in the treasure-house of traditional art, and traditional art can also obtain new development through the cloak of modern design, so that the modernization progress of Han embroidery is put on the agenda. Faster compliance with commercialization, market-oriented social development needs, Han embroidery regional characteristics, folk characteristics can also be preserved. The combination of traditional Chinese embroidery and modern design will be an important way to reproduce the brilliance of Han embroidery.
【學(xué)位授予單位】：武漢紡織大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J523.6;J525

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