【摘要】： 明末清初之際，隨著歐洲傳教士進(jìn)入中國(guó)，當(dāng)時(shí)西方流行的藝術(shù)風(fēng)格也隨之帶入，傳統(tǒng)家具亦開始受其影響。由于許多當(dāng)時(shí)歐洲藝術(shù)最先由廣州傳入中國(guó)，使該地受外來(lái)文化影響很深，也給家具藝術(shù)增添了色彩，因此清代廣式家具形成了與明式家具、清蘇式、京式家具不同的藝術(shù)風(fēng)格：即其兼有明式和西洋家具的因素，具備了中西融合特色。例如乾隆時(shí)期“紫檀有束腰西洋裝飾扶手椅”就是典型的例證。但是現(xiàn)在的中國(guó)家具史研究，卻把家具的中西融合時(shí)期劃分在或1840-1949的近現(xiàn)代，，或1911之后。這顯然忽視了清代中期家具的中西融合形態(tài)的存在。本文以“紫檀有束腰西洋裝飾扶手椅”為個(gè)案，探討清代中期家具的中西融合形態(tài)的問題。
[Abstract]:At the end of the Ming Dynasty and the beginning of Qing Dynasty, with the European missionaries entering China, the popular western artistic style was brought in, and the traditional furniture began to be influenced by it. Because many European arts were first introduced into China from Guangzhou at that time, the region was deeply influenced by foreign culture and added color to furniture art. Therefore, Guang-style furniture in the Qing Dynasty was formed with Ming style furniture and Qing Soviet style furniture. Beijing-style furniture has different artistic styles, that is, the combination of Ming style and western furniture. For example, Qianlong period, "Rosewood has a waist Western decorative armchair" is a typical example. However, the present study of the history of Chinese furniture divides the period of Chinese and Western integration into the modern period of 1840-1949 or after 1911. This obviously ignored the existence of the Chinese and western combination of furniture in the middle period of Qing Dynasty. Taking the Western decorative armchair of Rosewood with girded waist as an example, this paper discusses the integration of Chinese and Western furniture in the middle period of Qing Dynasty.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：K876.6

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相關(guān)期刊論文 前3條

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3 吳明娣;清代工藝美術(shù)在歐洲的傳播及影響[J];裝飾;2002年01期

本文編號(hào)：2300802