原始裝飾藝術研究
發(fā)布時間：2018-10-13 16:00
【摘要】： 裝飾藝術有廣義和狹義之分,原始裝飾藝術是原始人類藉此表達觀念、顯現(xiàn)人性的最主要的視覺藝術形式,我們只有從考古學和人類學材料的相互印證中,運用生物學、心理學、歷史學、哲學、社會學等多種學科的知識對原始裝飾藝術作綜合的考察研究,才能真正透過現(xiàn)象揭示其本質。 原始裝飾藝術發(fā)生的根源不是單一的,而是多元的綜合。多元的綜合不是諸因素的簡單相加,也不是用傳統(tǒng)的解構方式能夠獲得的部分之和,而是在一個有機整體的系統(tǒng)中的融會統(tǒng)一,這種融會統(tǒng)一是開放性的而不是自閉的,是動態(tài)的平衡而不是靜止的對稱。其中,象征著人的生命本質的精神意志始終起著主導性的作用。簡言之,原始裝飾藝術的發(fā)生并不是被動的選擇,更不是其它文化現(xiàn)象的衍生物或副產品,而是在人類本能的需求與外在條件的相互適應下誕生的。 同樣,原始裝飾藝術的形式起源與思維起源也都不是單一的。無論是寫實還是抽象,再現(xiàn)或表現(xiàn),都不可能是簡單的孰先孰后的問題,只有將它們納入到一個整體的系統(tǒng)之中,以融會統(tǒng)一的觀念來看待處于起源時期的視覺藝術形態(tài),只有在這樣的前提下,各個單位的元素才具有意義。 象征是原始裝飾藝術涵義的主要特征之一,但不是惟一;還有敘事、紀事和審美等意義在原始裝飾藝術中也屬常見,特別是審美的意義始終以其特有的方式蘊涵于具體的裝飾之中,有時被其主題或象征的意義所掩蓋;有時則通過獨特的形式感得以彰顯�！�
[Abstract]:Decorative art is divided into broad sense and narrow sense. Primitive decorative art is the most important visual art form by which primitive human beings express their ideas and reveal human nature. We can only use biology from the mutual verification of archaeological and anthropological materials. The knowledge of psychology, history, philosophy, sociology and so on makes a comprehensive investigation and study on the primitive decorative art. The origin of the original decorative art is not single, but plural synthesis. Pluralistic integration is not a simple addition of factors, nor a sum of parts that can be obtained by traditional deconstruction, but a fusion unity in an organic whole system, which is open rather than autistic. It is dynamic balance, not static symmetry. Among them, the spiritual will, which symbolizes the essence of human life, always plays a leading role. In short, the occurrence of primitive decorative art is not a passive choice, much less a derivative or by-product of other cultural phenomena, It was born under the mutual adaptation of human instinct and external conditions. Similarly, the origin of the form and thought of the primitive decorative art is not single. Whether it is realism or abstract, reproduction or expression, it is impossible to be a simple question of which comes first. Only by incorporating them into a whole system, we can look at the visual art form in the period of origin with a unified concept. It is only under this premise that the elements of each unit have meaning. Symbolism is one of the main features of the meaning of the original decorative art, but it is not the only one; there is also the narrative. The significance of chronology and aesthetics is also common in the original decorative art, especially the aesthetic meaning is always contained in the specific decoration in its unique way, and is sometimes concealed by its theme or symbolic meaning. Sometimes it is manifested through a unique sense of form.
【學位授予單位】：東南大學
【學位級別】：博士
【學位授予年份】：2006
【分類號】：J525
本文編號：2269189
[Abstract]:Decorative art is divided into broad sense and narrow sense. Primitive decorative art is the most important visual art form by which primitive human beings express their ideas and reveal human nature. We can only use biology from the mutual verification of archaeological and anthropological materials. The knowledge of psychology, history, philosophy, sociology and so on makes a comprehensive investigation and study on the primitive decorative art. The origin of the original decorative art is not single, but plural synthesis. Pluralistic integration is not a simple addition of factors, nor a sum of parts that can be obtained by traditional deconstruction, but a fusion unity in an organic whole system, which is open rather than autistic. It is dynamic balance, not static symmetry. Among them, the spiritual will, which symbolizes the essence of human life, always plays a leading role. In short, the occurrence of primitive decorative art is not a passive choice, much less a derivative or by-product of other cultural phenomena, It was born under the mutual adaptation of human instinct and external conditions. Similarly, the origin of the form and thought of the primitive decorative art is not single. Whether it is realism or abstract, reproduction or expression, it is impossible to be a simple question of which comes first. Only by incorporating them into a whole system, we can look at the visual art form in the period of origin with a unified concept. It is only under this premise that the elements of each unit have meaning. Symbolism is one of the main features of the meaning of the original decorative art, but it is not the only one; there is also the narrative. The significance of chronology and aesthetics is also common in the original decorative art, especially the aesthetic meaning is always contained in the specific decoration in its unique way, and is sometimes concealed by its theme or symbolic meaning. Sometimes it is manifested through a unique sense of form.
【學位授予單位】：東南大學
【學位級別】：博士
【學位授予年份】：2006
【分類號】：J525
【引證文獻】
相關期刊論文 前3條
1 徐敏;;關于三大構成在建筑裝飾設計專業(yè)教學中的探討[J];江西教育;2010年Z3期
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相關博士學位論文 前1條
1 李嘉;造物史視野中的先秦青銅“壺”形器研究[D];武漢理工大學;2012年
相關碩士學位論文 前2條
1 李寧;對陶瓷藝術創(chuàng)作中重復表現(xiàn)手法的探索和研究[D];中國藝術研究院;2013年
2 李寧;對現(xiàn)代陶藝創(chuàng)作中重復表現(xiàn)手法的探索和研究[D];中國藝術研究院;2013年
，本文編號：2269189
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