藏族裝飾圖案的秩序感研究
發(fā)布時(shí)間：2018-11-08 08:35
【摘要】： 由于獨(dú)特的地理、政治、宗教、文化背景，藏民族形成了相對(duì)獨(dú)立的民族藝術(shù)，其傳統(tǒng)一直延續(xù)至今。藏族裝飾圖案是表現(xiàn)藏族裝飾藝術(shù)的主要形式之一，運(yùn)用廣泛，形式多樣，靈活多變，如實(shí)地記錄了藏族裝飾藝術(shù)各個(gè)發(fā)展階段的藝術(shù)特色，因此對(duì)它進(jìn)行研究整理，并進(jìn)一步用現(xiàn)代視覺心理學(xué)的科學(xué)研究成果對(duì)其進(jìn)行分析，有重要的理論研究意義和實(shí)際應(yīng)用價(jià)值。 國內(nèi)國外針對(duì)藏族裝飾圖案的相關(guān)研究很多，并且隨著切入點(diǎn)的不斷變化，可研究性和價(jià)值也不斷擴(kuò)大。雖然研究的方向和內(nèi)容各異，但是幾乎都以宗教作為共同的主線，這也使幾乎所有的藏族藝術(shù)研究擁有了一種固定的模式。與此同時(shí)也注意到，正是宗教藝術(shù)這一顯著特點(diǎn)，使藏族裝飾藝術(shù)表現(xiàn)出極強(qiáng)的規(guī)律性，而這種對(duì)規(guī)律和秩序的追求與表現(xiàn)是人類普遍存在的心理需求，這在西方的裝飾藝術(shù)的心理學(xué)研究中已取得一些較完善和成熟的研究成果。本論文正是運(yùn)用裝飾藝術(shù)心理學(xué)的研究方法，以透過現(xiàn)象看本質(zhì)的思路，通過對(duì)藏族裝飾圖案的具體形式的分析，力圖揭示藏族裝飾藝術(shù)秩序感表現(xiàn)的心理學(xué)本質(zhì)，將西方裝飾藝術(shù)的理論研究成果和研究方法運(yùn)用到藏族裝飾藝術(shù)圖案的研究中來，使藏族裝飾藝術(shù)的理論研究體系更具完整性和科學(xué)性。 論文的理論架構(gòu)主要以英國著名美術(shù)史家及思想家E．H．貢布里希的《秩序感》作為理論參考，特別是他從信息論的角度，提出了秩序感知中有關(guān)信息多余度理論，這是以發(fā)展的眼光來看待信息時(shí)代裝飾藝術(shù)的創(chuàng)新理論。論文通過對(duì)貢布里希理論的歸納提煉，同時(shí)結(jié)合圖像學(xué)和傳播學(xué)的相關(guān)理論，以現(xiàn)代的藝術(shù)研究理論來探討傳統(tǒng)的藏族裝飾圖案的藝術(shù)風(fēng)格和傳播意義。同時(shí)也與格式塔心理學(xué)等相關(guān)理論進(jìn)行結(jié)合與比較，從視覺心理學(xué)和審美心理學(xué)的角度對(duì)理論進(jìn)行架構(gòu)。 以藏族的裝飾圖案作為研究方向，其中強(qiáng)調(diào)“裝飾”二字是因?yàn)檠b飾作為一種藝術(shù)方式，它以秩序化、規(guī)律化、程式化、理想化為要求，改變和美化事物，，形成合乎人類需要、與人類審美理想相統(tǒng)一相和諧的美的形態(tài)。從這個(gè)層面對(duì)藏族裝飾圖案的秩序感和秩序性進(jìn)行研究將會(huì)達(dá)成內(nèi)容和形式的一致性。 論文的內(nèi)容結(jié)構(gòu)，首先是對(duì)裝飾圖案藝術(shù)中的秩序感的概念、理論基礎(chǔ)及研 究方法做一個(gè)基本的闡述，由藏族裝飾圖案的秩序感研究的意義切入其與秩序感理論結(jié)合的可行性和創(chuàng)新性的問題。在論文的核心部分，主要從秩序的感知、創(chuàng)造及傳播來研究藏族裝飾圖案中的紋飾結(jié)構(gòu)、裝飾結(jié)構(gòu)和裝飾風(fēng)格等內(nèi)容，并建立起藏族裝飾圖案秩序感理論體系。在此基礎(chǔ)上，進(jìn)一步分析總結(jié)藏族裝飾圖案的秩序法則。在論文的結(jié)論部分，突出論文的論點(diǎn)的創(chuàng)新性和可行性，探究有待深入的問題。
[Abstract]:Due to its unique geographical, political, religious and cultural background, the Tibetan nationality has formed a relatively independent national art, and its tradition has continued to this day. Tibetan decorative patterns are one of the main forms of Tibetan decorative art. They have been widely used, varied in form, flexible and changeable, and have truthfully recorded the artistic characteristics of Tibetan decorative art at all stages of its development, so it has been studied and sorted out. It has important theoretical significance and practical application value to further analyze it with the scientific research results of modern visual psychology. There are a lot of researches on Tibetan decorative patterns at home and abroad, and with the change of breakthrough point, the researchability and value are expanding. Although the research direction and content are different, but almost all take religion as the common thread, this also makes almost all Tibetan art research have one kind of fixed pattern. At the same time, it is precisely this remarkable feature of religious art that has made Tibetan decorative art show strong regularity, and this pursuit and expression of law and order is a universal psychological demand of mankind, This in the western decorative art psychology research has obtained some more perfect and mature research results. This thesis uses the research method of decorative art psychology to analyze the concrete forms of Tibetan decorative patterns through the thinking of phenomenon, and tries to reveal the psychological essence of the order sense of Tibetan decorative art. The theoretical research results and methods of western decorative art are applied to the research of Tibetan decorative art patterns, which makes the theoretical research system of Tibetan decorative art more complete and scientific. The theoretical framework of this paper is mainly based on the theory of the sense of order by E. H. Gonbridge, a famous British art historian and thinker. In particular, he puts forward the theory of information redundancy in order perception from the angle of information theory. This is an innovative theory of decorative art in the information age from the perspective of development. By summarizing and refining the theory of Gombrich and combining the related theories of graphics and communication, this paper discusses the artistic style and communication significance of the traditional Tibetan decorative patterns with the modern art research theory. At the same time, it combines and compares with related theories such as Gestalt psychology, and constructs the theory from the angle of visual psychology and aesthetic psychology. Taking Tibetan decorative patterns as the research direction, in which the word "decoration" is emphasized because decoration, as an artistic way, requires orderization, regularity, formulation and idealization, changes and beautifies things and forms them in accordance with the needs of mankind. The form of beauty in harmony with human aesthetic ideal. From this level, the research on the order and order of Tibetan decorative patterns will achieve the consistency of content and form. The content structure of the thesis, first of all, is to do a basic exposition on the concept, theoretical basis and research method of the sense of order in the decorative pattern art. The significance of the research on the order sense of Tibetan decorative patterns cuts into the feasibility and innovation of its combination with the theory of order feeling. In the core part of the paper, the structure, structure and style of Tibetan decorative patterns are studied from the perspective of order perception, creation and dissemination, and the theoretical system of order sense of Tibetan decorative patterns is established. On this basis, further analysis and summary of Tibetan decorative patterns of the order of the law. In the conclusion part of the thesis, the author emphasizes the innovation and feasibility of the thesis, and explores the problems that need to be further explored.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：J523.5
本文編號(hào)：2317939
[Abstract]:Due to its unique geographical, political, religious and cultural background, the Tibetan nationality has formed a relatively independent national art, and its tradition has continued to this day. Tibetan decorative patterns are one of the main forms of Tibetan decorative art. They have been widely used, varied in form, flexible and changeable, and have truthfully recorded the artistic characteristics of Tibetan decorative art at all stages of its development, so it has been studied and sorted out. It has important theoretical significance and practical application value to further analyze it with the scientific research results of modern visual psychology. There are a lot of researches on Tibetan decorative patterns at home and abroad, and with the change of breakthrough point, the researchability and value are expanding. Although the research direction and content are different, but almost all take religion as the common thread, this also makes almost all Tibetan art research have one kind of fixed pattern. At the same time, it is precisely this remarkable feature of religious art that has made Tibetan decorative art show strong regularity, and this pursuit and expression of law and order is a universal psychological demand of mankind, This in the western decorative art psychology research has obtained some more perfect and mature research results. This thesis uses the research method of decorative art psychology to analyze the concrete forms of Tibetan decorative patterns through the thinking of phenomenon, and tries to reveal the psychological essence of the order sense of Tibetan decorative art. The theoretical research results and methods of western decorative art are applied to the research of Tibetan decorative art patterns, which makes the theoretical research system of Tibetan decorative art more complete and scientific. The theoretical framework of this paper is mainly based on the theory of the sense of order by E. H. Gonbridge, a famous British art historian and thinker. In particular, he puts forward the theory of information redundancy in order perception from the angle of information theory. This is an innovative theory of decorative art in the information age from the perspective of development. By summarizing and refining the theory of Gombrich and combining the related theories of graphics and communication, this paper discusses the artistic style and communication significance of the traditional Tibetan decorative patterns with the modern art research theory. At the same time, it combines and compares with related theories such as Gestalt psychology, and constructs the theory from the angle of visual psychology and aesthetic psychology. Taking Tibetan decorative patterns as the research direction, in which the word "decoration" is emphasized because decoration, as an artistic way, requires orderization, regularity, formulation and idealization, changes and beautifies things and forms them in accordance with the needs of mankind. The form of beauty in harmony with human aesthetic ideal. From this level, the research on the order and order of Tibetan decorative patterns will achieve the consistency of content and form. The content structure of the thesis, first of all, is to do a basic exposition on the concept, theoretical basis and research method of the sense of order in the decorative pattern art. The significance of the research on the order sense of Tibetan decorative patterns cuts into the feasibility and innovation of its combination with the theory of order feeling. In the core part of the paper, the structure, structure and style of Tibetan decorative patterns are studied from the perspective of order perception, creation and dissemination, and the theoretical system of order sense of Tibetan decorative patterns is established. On this basis, further analysis and summary of Tibetan decorative patterns of the order of the law. In the conclusion part of the thesis, the author emphasizes the innovation and feasibility of the thesis, and explores the problems that need to be further explored.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：J523.5
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前8條
1 李娟;家居配飾設(shè)計(jì)研究[D];中南林業(yè)科技大學(xué);2010年
2 陳卓;中國傳統(tǒng)裝飾紋樣[D];中南林業(yè)科技大學(xué);2009年
3 努爾麥麥提·阿卜杜許庫爾;維吾爾族裝飾圖案元素在壁畫中運(yùn)用[D];大連理工大學(xué);2011年
4 蒲佳;藏密曼荼羅圖形的藝術(shù)特征研究[D];西安理工大學(xué);2008年
5 尹廷乙;藏式家具在藏族居室中的應(yīng)用與設(shè)計(jì)[D];西南交通大學(xué);2010年
6 張埡歐;西藏裝飾元素在高速列車內(nèi)飾設(shè)計(jì)中的運(yùn)用研究[D];西南交通大學(xué);2012年
7 杜婉君;招貼設(shè)計(jì)的秩序性研究[D];山東大學(xué);2012年
8 吳楠;基于美學(xué)原理的室內(nèi)配飾品設(shè)計(jì)研究[D];沈陽航空航天大學(xué);2013年
本文編號(hào)：2317939
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