【摘要】：作為中國(guó)傳統(tǒng)裝飾藝術(shù)的重要組成部分,吉祥紋樣體現(xiàn)了中國(guó)民族傳統(tǒng)文化的底蘊(yùn)。其以特有的裝飾風(fēng)格和民族語(yǔ)言,寄托了人們對(duì)幸福生活的愿望。中國(guó)是最早使用漆的國(guó)家,也曾有過(guò)極其光輝燦爛的歷史,對(duì)周邊國(guó)家以及一些地區(qū)產(chǎn)生了廣泛而深遠(yuǎn)的影響,然而近百年來(lái),由于諸多外在和內(nèi)在的因素致使其衰弱下來(lái)。不過(guò),隨著回歸傳統(tǒng)、回歸自然以及尋根的呼聲日益高漲,現(xiàn)代漆藝又了新的發(fā)展時(shí)機(jī)。開(kāi)展吉祥紋樣如何在現(xiàn)代漆藝中進(jìn)行創(chuàng)新應(yīng)用的研究,可使現(xiàn)代藝術(shù)觀念與傳統(tǒng)文化更好的融合,以此推動(dòng)現(xiàn)代漆藝的發(fā)展,不僅讓現(xiàn)代漆藝蘊(yùn)含著民族創(chuàng)造和審美精神,使我國(guó)現(xiàn)代漆藝更具民族的特色,同時(shí)也為吉祥紋樣的繼承和創(chuàng)新做出了重要的貢獻(xiàn)。本篇論文首先以對(duì)吉祥紋樣的認(rèn)知為切入點(diǎn),通過(guò)查閱大量的文獻(xiàn)資料,從而對(duì)吉祥紋樣的概念、分類、寓意進(jìn)行系統(tǒng)的整理和分析,研究剖析吉祥紋樣的美學(xué)內(nèi)涵,提煉出利于現(xiàn)代漆藝設(shè)計(jì)的思想、方法和原則。并對(duì)現(xiàn)代漆藝的發(fā)展?fàn)顩r做大致的分析,為吉祥紋樣在其中的應(yīng)用做了理論鋪墊,進(jìn)而通過(guò)閱覽大量的書籍、優(yōu)秀期刊、現(xiàn)代漆藝作品等,結(jié)合運(yùn)用文字、圖片資料,展開(kāi)吉祥紋樣在現(xiàn)代漆藝中的創(chuàng)新應(yīng)用研究,并結(jié)合個(gè)人的現(xiàn)代漆藝系列設(shè)計(jì)創(chuàng)作,提出了一系列具有創(chuàng)造性的理論思維和方法,將吉祥紋樣與現(xiàn)代漆藝完美融合,具有傳承與創(chuàng)新的雙重意義和價(jià)值。
[Abstract]:As an important part of Chinese traditional decorative art, auspicious patterns embody the essence of Chinese traditional culture. Its unique decorative style and national language, reposing people's wishes for a happy life. China was the first country to use lacquer and had a splendid history, which had a wide and far-reaching influence on the neighboring countries and some regions. However, in the last hundred years, it has weakened due to many external and internal factors. However, with the return to tradition, return to nature and the growing demand for root-seeking, modern lacquer has a new opportunity to develop. The research on how to apply auspicious patterns in modern lacquer art can make the modern art concept and traditional culture better merge, and promote the development of modern lacquer art, which not only makes modern lacquer art contain national creation and aesthetic spirit, The modern lacquer art of our country has more national characteristics and has made important contributions to the inheritance and innovation of auspicious patterns. This thesis first regards the cognition of auspicious patterns as the breakthrough point, through consulting a large number of documents and materials, carries on systematic arrangement and analysis to the concept, classification, implication of auspicious patterns, and studies and analyzes the aesthetic connotation of auspicious patterns. Abstract the ideas, methods and principles conducive to the design of modern lacquer art. And the development of modern lacquer art is roughly analyzed, which lays a theoretical foundation for the application of auspicious patterns in it, and then through reading a large number of books, excellent periodicals, modern lacquer art works and so on, combining the use of words and pictures, The innovative application research of auspicious patterns in modern lacquer art is carried out, and a series of creative theoretical thinking and methods are put forward in combination with individual design of modern lacquer art series, which combines auspicious patterns with modern lacquer art perfectly. It has the double meaning and value of inheritance and innovation.
【學(xué)位授予單位】：齊魯工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J527

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 潘鳳;首飾的吉祥寓意與吉祥表達(dá)[D];中國(guó)地質(zhì)大學(xué)(北京);2012年

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本文編號(hào)：2251468