本文選題：罩落 + 木雕��； 參考：《南京林業(yè)大學(xué)》2008年碩士論文

【摘要】： 罩為中國古建筑小木作(joinery work)構(gòu)件之一,是對(duì)柱、梁兩側(cè)的兩個(gè)空間的界劃,即對(duì)空間做虛擬式的界定,形成空間的過渡和轉(zhuǎn)換,使不同的空間相互連貫,開而不斷。通過通透的空間,形成透視和借景,使其成為一個(gè)有機(jī)的整體,以增強(qiáng)空間的層次感和韻律感。室內(nèi)用罩分割空間,將大面積的空間,根據(jù)需要分成若干小空間,區(qū)分使用功能。在造型上非常講究,制造上精益求精,給人以藝術(shù)的享受。在創(chuàng)造藝術(shù)形象之余,還注重其文化內(nèi)涵,吸取中國傳統(tǒng)文化之精華,創(chuàng)造出豐富多彩的藝術(shù)形象。罩是建筑中不可缺少的組成部分,集功能、藝術(shù)、文化于一體,為浩瀚的建筑藝術(shù)中一顆璀璨的明珠。 罩是古建筑室內(nèi)裝修的重要組成部分。歷來為人們所關(guān)注所推崇。其實(shí)我們要關(guān)注的不僅僅是具體的罩,更為重要的是把握其罩文化藝術(shù)的精髓和實(shí)質(zhì)。同時(shí)我們也不能脫離建筑與室內(nèi)環(huán)境來談?wù)值墓δ芘c藝術(shù),因?yàn)榻ㄖc室內(nèi)空間是其存在和表現(xiàn)的舞臺(tái)。罩在公共環(huán)境的美化上也有很大的市場空間。表現(xiàn)力豐富,表現(xiàn)題材廣泛,表現(xiàn)手法多種多樣。罩材料的天然性,符合了當(dāng)今人們追求環(huán)保、回歸自然的要求,順應(yīng)了歷史的潮流與時(shí)代的發(fā)展方向。 本文首先從罩的含義入手,深入研究各式傳統(tǒng)罩落的功能、歷史演變、木雕紋樣、工藝及古今的實(shí)際運(yùn)用,理論聯(lián)系實(shí)際;總結(jié)出它的精髓與實(shí)質(zhì)。運(yùn)用于現(xiàn)代室內(nèi)中反映室內(nèi)裝飾藝術(shù)的內(nèi)涵。 文章分八個(gè)部分論述: 第一章、傳統(tǒng)構(gòu)件—罩,介紹傳統(tǒng)構(gòu)件罩的有關(guān)內(nèi)容及界定; 第二章、罩的藝術(shù)形式,對(duì)眾多藝術(shù)形式罩的界定; 第三章、罩的歷史演變; 第四章、罩的功能,從科學(xué)實(shí)用性、藝術(shù)性、文化性三個(gè)方面加以展開論述; 第五章、罩的制作工藝,罩這一傳統(tǒng)工藝,集結(jié)了材料、工藝、造型設(shè)計(jì)、色彩、美學(xué)為一體,它涵蓋了科學(xué)與藝術(shù),展示了中國的民族傳統(tǒng)文化; 第六章、罩的圖案藝術(shù)與文化;現(xiàn)代室內(nèi)設(shè)計(jì)可借鑒傳統(tǒng)元素“罩”的象征和寓意的表現(xiàn)手法,創(chuàng)造具有深層文化和地域特色的現(xiàn)代裝飾形式。 第七章、傳統(tǒng)與現(xiàn)代的運(yùn)用—罩藝術(shù)賞析,以古今設(shè)計(jì)工程實(shí)例,來分析罩在室內(nèi)設(shè)計(jì)中的具體運(yùn)用; 第八章、總結(jié),最后是對(duì)罩文化藝術(shù)的總結(jié)與思考。通過本文的研究讓我們對(duì)傳統(tǒng)文化進(jìn)一步認(rèn)識(shí),繼承并發(fā)揚(yáng)傳統(tǒng)文化。我們要將罩傳統(tǒng)文化繼承發(fā)揚(yáng),并將現(xiàn)代的元素與傳統(tǒng)結(jié)合,使得罩得到更好的發(fā)展。
[Abstract]:The cover is one of the small wooden (joinery work) components of ancient Chinese architecture. It is the boundary drawing of two spaces on both sides of the column and beam, that is, the definition of the space is fictitious, which forms the transition and transformation of the space, which makes the different spaces coherent and open continuously. Through the permeable space, it forms perspective and view, makes it an organic whole, in order to enhance the sense of hierarchy and rhythm of space. The large area space is divided into several small spaces according to the need, and the function is distinguished. In the modelling is very fastidious, the manufacture strives for perfection, gives the person to the artistic enjoyment. Besides creating artistic image, it also pays attention to its cultural connotation, absorbs the essence of Chinese traditional culture, and creates rich and colorful artistic image. The cover is an indispensable part of architecture, which integrates function, art and culture, and is a bright pearl in the vast architectural art. The cover is an important part of the interior decoration of ancient buildings. It has always been respected by people. In fact, we should pay attention not only to the specific cover, but also to grasp the essence and essence of the culture and art. At the same time, we can not talk about the function and art of the hood, because architecture and interior space are the stage of its existence and expression. Cover in the beautification of the public environment also has a lot of market space. The expressive power is rich, the expression subject matter is widespread, the expression technique is various. The natural nature of the cover material accords with the requirements of people's pursuit of environmental protection and return to nature, and conforms to the trend of history and the direction of development of the times. This paper begins with the meaning of the cover, deeply studies the functions, historical evolution, woodcarving patterns, techniques and the practical application of the ancient and modern, and summarizes its essence and essence. It is used in modern interior to reflect the connotation of interior decoration art. The article is divided into eight parts: the first chapter, the traditional component-cover, introduces the content and definition of the traditional component cover, the second chapter, the art form of the cover, The definition of the cover of many art forms; the third chapter, the historical evolution of the cover; the fourth chapter, the function of the cover, from the scientific practicability, artistry, The fifth chapter, the manufacture technology of the cover, the traditional craft of the cover, has integrated the material, the craft, the modelling design, the color, the esthetics, it has covered the science and the art, It shows the traditional Chinese culture; chapter VI, the art and culture of the mask; the modern interior design can draw lessons from the traditional elements of "cover" symbol and moral expression, Create a modern decorative form with deep culture and regional characteristics. Chapter 7, traditional and modern application-appreciation of mask art, analyzes the concrete application of cover in interior design with examples of ancient and modern design engineering; chapter 8, summary, and finally the summary and thinking of cover culture and art. Through the study of this paper, we further understand the traditional culture, inherit and carry forward the traditional culture. We should inherit and carry forward the traditional culture and combine the modern elements with the tradition, so that the mask can be better developed.
【學(xué)位授予單位】：南京林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：TU238.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 王青嵐;當(dāng)代北京建筑中的傳統(tǒng)元素研究[D];北方工業(yè)大學(xué);2011年

2 陸曉俊;吳文化特色古建筑裝飾圖案藝術(shù)探究[D];南京林業(yè)大學(xué);2008年

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本文編號(hào)：2094303