本文選題：唐代銅鏡 + 特種工藝　； 參考：《西安美術(shù)學(xué)院》2010年碩士論文

【摘要】： 銅鏡是古人用來修飾自己容顏的生活用具,由鏡面、鏡背以及鏡鈕三部分組成,是金屬銅、錫、鉛合成鑄就,背面裝飾精美細(xì)致、燦爛多姿的圖案紋飾,是我國(guó)藝術(shù)寶庫中最獨(dú)特的組成部分。本文由緒論、銅鏡的淵源、唐代銅鏡、唐代銅鏡的紋飾之美、唐鏡對(duì)后來美術(shù)發(fā)展的影響、結(jié)論與展望等六部分組成。 本文通過銅鏡的起源和制作,引申出銅鏡是兼具實(shí)用功能和藝術(shù)審美功能的工藝品�？v觀四千年中國(guó)銅鏡的發(fā)展歷史,反映出銅鏡早期(齊家文化與商周)、流行期(春秋戰(zhàn)國(guó))、鼎盛期(漢代)、中衰期(三國(guó)、晉、魏、南北朝)、繁榮期(隋唐)、衰落期(五代、十國(guó)、宋、金、元、明、清)等幾個(gè)階段與唐代銅鏡在鏡形和鏡鈕的變化比較,分析唐代銅鏡紋飾在初唐、中唐及晚唐三個(gè)歷史分期的特點(diǎn),從而折射出在不同時(shí)期內(nèi)因歷史、政治、經(jīng)濟(jì)發(fā)展的影響,唐鏡所呈現(xiàn)的審美心理,敘述唐代特種工藝銅鏡的制作方法和代表作品。本文重點(diǎn)論述了唐鏡裝飾紋樣的對(duì)稱、排列、均衡、節(jié)奏等構(gòu)圖形式和線條、浮雕、透雕、鑲嵌等雕刻手法,展現(xiàn)唐代銅鏡紋飾的自由豪放、輕快舒展、華麗絢爛之美,以及對(duì)我國(guó)后世傳統(tǒng)圖案在表現(xiàn)形式上的影響。 本文采用理論學(xué)習(xí)、文獻(xiàn)閱讀與實(shí)地調(diào)查相結(jié)合的研究方法,力圖從中國(guó)唐代銅鏡的鏡形設(shè)計(jì)、紋飾設(shè)計(jì)的特征,來探討唐鏡的發(fā)展規(guī)律和影響。
[Abstract]:The bronze mirror is a living appliance used by the ancients to decorate their appearance. It is composed of three parts: mirror surface, mirror back and mirror knob. It is made of metal copper, tin and lead, and is beautifully decorated and beautifully decorated on the back. It is the most unique part of our country's art treasure house. This paper consists of six parts: introduction, the origin of bronze mirror, the beauty of bronze mirror decoration in Tang Dynasty, the influence of Tang mirror on the development of art later, the conclusion and prospect. Through the origin and manufacture of bronze mirror, it is concluded that bronze mirror is a handicraft with both practical function and artistic aesthetic function. Throughout the history of four thousand years of Chinese bronze mirror development, it reflects the early period of bronze mirror (Qi culture and Shang Zhou), the epidemic period (Spring and Autumn period and warring States period), the peak period (Han Dynasty), the middle and declining period (three Kingdoms, Jin, Wei, Southern and Northern dynasties), the prosperous period (Sui and Tang dynasties), the decline period (five dynasties), Compared with the changes of the bronze mirror in the mirror shape and the mirror button in the Tang Dynasty, this paper analyzes the characteristics of the three stages of the bronze mirror decoration in the early Tang Dynasty, the middle Tang Dynasty and the late Tang Dynasty, so as to reflect the history in different periods, as a result of the comparison between the ten periods, the Song Dynasty, the Jin Dynasty, the Yuan Dynasty, the Ming Dynasty and the Qing Dynasty, and the changes of the bronze mirror in the Tang Dynasty. The influence of political and economic development, the aesthetic psychology of Tang mirror, the production method and representative works of Tang Dynasty special craftsmanship bronze mirror. This paper focuses on the symmetry, arrangement, balance, rhythm and other composition forms and lines of the decorative patterns of the Tang Dynasty mirror, such as relief, permeable carving, mosaic and other engraving techniques, to show the free and bold, light and stretch, gorgeous beauty of the bronze mirror ornaments of the Tang Dynasty. As well as to our country later generation tradition pattern in the expression form influence. In this paper, by means of theoretical study, literature reading and field investigation, this paper tries to discuss the development law and influence of Tang Dynasty mirror from the characteristics of mirror design and pattern design of bronze mirror in Tang Dynasty in China.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J525;K875.2

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本文編號(hào)：2061666