本文選題：傳統(tǒng)蒙古包 + 室內(nèi)裝飾��； 參考：《內(nèi)蒙古農(nóng)業(yè)大學(xué)》2010年碩士論文

【摘要】： 傳統(tǒng)蒙古包作為一種穹廬式氈帳建筑,是游牧民族先民不斷適應(yīng)獨(dú)特地域資源、氣候條件以及生活方式的必然產(chǎn)物。其成熟的室內(nèi)與建筑裝飾既向世人詮釋了游牧民族對居住空間的理解,又深刻反映了游牧民族的傳統(tǒng)地域文化。 傳統(tǒng)蒙古包是游牧民族傳統(tǒng)文化的重要組成部分,是展現(xiàn)游牧民族思想情感、精神風(fēng)貌的獨(dú)具特色的建筑形式,是在長期的歷史發(fā)展過程中沉淀和積累下來的傳統(tǒng)藝術(shù)寶庫。游牧生活和秩序以民族藝術(shù)的方式凝固為視覺形態(tài),既有美化生活、傳遞信息的使用功能,也有表現(xiàn)精神需要、情感需要的審美意識。 本文從建筑學(xué)、設(shè)計(jì)學(xué)、民俗學(xué)、圖案的角度,綜合運(yùn)用測繪、走訪以及查閱相關(guān)文獻(xiàn)資料方法,結(jié)合蒙古民族的生活習(xí)俗、宗教信仰等傳統(tǒng)文化因素,梳理和探究傳統(tǒng)蒙古包的室內(nèi)及建筑裝飾特色,總結(jié)歸納出傳統(tǒng)蒙古包裝飾藝術(shù)特征和審美價(jià)值。以室內(nèi)外的構(gòu)成、造型等為典型素材對其結(jié)構(gòu)裝飾及圖案特征進(jìn)行了提煉和總結(jié),如蒙古包裝飾的向心裝飾、同心圓和由下至上逐級加重的裝飾規(guī)律等。旨在為現(xiàn)代設(shè)計(jì)者提供設(shè)計(jì)依據(jù),以便達(dá)到傳承發(fā)展的目的。 蒙古民族作為北方游牧民族文化的集大成者和守望者,其歷史所積累的生活狀態(tài)以運(yùn)動為核心,但這絲毫不影響他們對靜態(tài)的、凝固的、視覺藝術(shù)形態(tài)——裝飾藝術(shù)的熱愛和執(zhí)著。本人從小生活在內(nèi)蒙古草原,在濃郁的民族文化氛圍中成長,對此深有體會,這也是撰寫這篇論文的原動力。
[Abstract]:The traditional yurts are the inevitable products of the nomadic peoples' adaptation to the unique regional resources, climatic conditions and lifestyle. Its mature interior and architectural decoration not only interprets the nomadic people's understanding of the living space, but also reflects the nomadic traditional regional culture. The traditional yurts is an important part of the nomadic traditional culture, a unique architectural form to show the nomadic people's thoughts, emotions and spiritual features, and a treasure house of traditional art that has accumulated and accumulated in the long historical development process. Nomadic life and order solidify into visual form in the way of national art, which not only beautifies life, conveys the use of information, but also has the aesthetic consciousness of expressing spiritual needs and emotional needs. From the point of view of architecture, design, folklore and pattern, this paper synthetically applies surveying and mapping, visiting and consulting the relevant literature and materials, combining the traditional cultural factors such as the Mongolian nation's living custom, religious belief and so on. Combing and exploring the interior and architectural decoration characteristics of traditional yurts, summing up the artistic features and aesthetic value of traditional yurts decoration. In this paper, the structure and pattern features of the interior and exterior are refined and summarized, such as the concentric decoration of yurts, concentric circle and the law of accentuating from the bottom to the top, etc. The aim is to provide the design basis for modern designers, in order to achieve the purpose of inheritance and development. The Mongolian people, as the collectivists and watchmen of the nomadic culture of the north, have accumulated a life state of movement as the core of their history, but this does not affect their static, solidified, Visual art form-the love and persistence of decorative art. I lived in Inner Mongolia prairie, growing up in a strong national culture atmosphere, which is the driving force of writing this paper.
【學(xué)位授予單位】：內(nèi)蒙古農(nóng)業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J525

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 郭繼業(yè);蒙古族“尚圓”觀念對其裝飾藝術(shù)的影響[D];內(nèi)蒙古師范大學(xué);2012年

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本文編號：1908414