本文選題：鳳鳥文化 + 圖騰�。� 參考：《西安美術學院》2008年碩士論文

【摘要】： 鳳鳥紋樣是我國民族傳統(tǒng)文化的精髓。從新石器時期的陶器到現(xiàn)代社會的各種工藝品,鳳紋無不在裝飾文化藝術中扮演著重要的角色。鳳鳥紋樣的演變是中國傳統(tǒng)裝飾藝術的演變脈絡,凝聚著中華民族獨特的審美意識和價值觀念,代表了中華民族的精神圖騰。 在秦代之前,鳳是眾多民族的氏族圖騰符號,人們以各種抽象符號的手法表現(xiàn)鳳紋造型。從秦漢開始,鳳紋造型經(jīng)歷了重大的變革,在前期鳳紋藝術文化歷史的積淀下厚積薄發(fā),進入了具象寫實的裝飾時期�，F(xiàn)代鳳紋藝術憑借著深厚而多元的傳統(tǒng),繼續(xù)展現(xiàn)著鳳紋文化和造型的獨特魅力,使中國傳統(tǒng)文化和藝術發(fā)揚廣大。本文試圖透過鳳鳥紋樣傳統(tǒng)造型藝術的歷史延伸,揭示其裝飾特征的演變和豐富的文化內涵。 本文主要分為五個部分:首先說明鳳鳥的起源、鳳的圖騰崇拜以及崇拜的引因,得出鳳與人類生活關系緊密,鳳紋的創(chuàng)作來源于現(xiàn)實生活中的結論;其次主要從鳳鳥紋樣的造型和歷代所出現(xiàn)鳳鳥的族類闡述了鳳紋形象的來源;第三部分根據(jù)歷代考古發(fā)現(xiàn)的鳳紋資料對鳳紋的演變進行分析,并著重詮釋了鳳紋在圖騰符號裝飾時期的各個時段的裝飾藝術特征;第四部分主要系統(tǒng)介紹從秦漢到明清時期的鳳紋裝飾特征,對鳳紋藝術具象寫實的裝飾時期特征進行客觀總結;最后筆者對現(xiàn)代鳳紋的裝飾藝術特性概括,認為現(xiàn)代鳳紋的延伸是對原始母題的繼承與延續(xù),也是對其外在形式的衍生與拓展。
[Abstract]:Phoenix bird pattern is the essence of Chinese traditional culture. Phoenix patterns play an important role in decorative culture from pottery in the Neolithic period to various handicrafts in modern society. The evolution of Phoenix bird pattern is the evolution of Chinese traditional decorative art, which condenses the unique aesthetic consciousness and value concept of the Chinese nation and represents the spirit totem of the Chinese nation. Before Qin Dynasty, Feng was the totem symbol of many nationalities. Since the Qin and Han dynasties, the Phoenix pattern has undergone a great change, and it has entered the decorative period of concrete realistic writing under the accumulation of the artistic and cultural history of the Phoenix pattern in the early period. Modern Phoenix art, with its profound and diverse tradition, continues to display the unique charm of Phoenix culture and modeling, which makes Chinese traditional culture and art carry forward the broad range. This paper attempts to reveal the evolution of decorative features and rich cultural connotations through the historical extension of Phoenix bird pattern traditional plastic arts. This paper is mainly divided into five parts: first, explain the origin of Phoenix bird, the totem worship of Phoenix and the cause of worship, draw the conclusion that Phoenix and human life are closely related, Phoenix's creation comes from the conclusion of real life; Secondly, the origin of Phoenix image is explained from the modeling of Phoenix pattern and the kind of Phoenix bird that appeared in past dynasties. The third part analyzes the evolution of Phoenix pattern according to the archaeological data of Phoenix pattern. The fourth part mainly introduces the decorative features of Phoenix patterns from Qin and Han dynasties to Ming and Qing dynasties, and explains the decorative artistic characteristics of Phoenix patterns in each period of totem symbol decoration period, the fourth part systematically introduces the decorative features of Phoenix lines from the Qin and Han dynasties to the Ming and Qing dynasties. Finally, the author summarizes the decorative art characteristics of modern Phoenix patterns, and thinks that the extension of modern Phoenix patterns is the inheritance and continuation of the original motif. It is also the derivation and expansion of its external form.
【學位授予單位】：西安美術學院
【學位級別】：碩士
【學位授予年份】：2008
【分類號】：J522

【引證文獻】

相關碩士學位論文 前3條

1 張潔;浙西南畬族傳統(tǒng)帽飾研究[D];南京藝術學院;2011年

2 王s，

本文編號：1922214