【摘要】： 經(jīng)過漫長的發(fā)展演變,中國形成了一套成熟的加工制作琉璃藝術(shù)品的傳統(tǒng)工藝,琉璃藝術(shù)體現(xiàn)著中國傳統(tǒng)審美的精神。然而,在傳統(tǒng)琉璃藝術(shù)發(fā)展的過程中依然存在著一些問題:琉璃的材質(zhì)選擇和材料制作都具有很大的局限性;傳統(tǒng)琉璃作為貴族把玩的裝飾品未能完全普及到尋常人家;琉璃本身的材質(zhì)特色和造型特點(diǎn)沒有得到充分挖掘等等。這些都是傳統(tǒng)琉璃藝術(shù)發(fā)展比較緩慢的重要原因。 在經(jīng)濟(jì)一體化、文化多元化和信息網(wǎng)絡(luò)化的全球性時(shí)代背景下,時(shí)尚審美成為當(dāng)代社會(huì)審美文化的重要特征。當(dāng)代社會(huì)時(shí)尚審美的特點(diǎn)表現(xiàn)在人們?cè)谧非髸r(shí)尚化、大眾化的物質(zhì)消費(fèi)文化的同時(shí),又在追求一種更為精致的精神審美文化,要求一種更高品質(zhì)的生活方式。 在這樣的時(shí)代機(jī)遇下,琉璃裝飾藝術(shù)作為中國傳統(tǒng)審美文化的組成部分受到了現(xiàn)代人的關(guān)注,在新的時(shí)代背景下,它無論在工藝手段還是在設(shè)計(jì)理念上都產(chǎn)生了很大的變化,從而呈現(xiàn)出當(dāng)代琉璃裝飾藝術(shù)的新特點(diǎn)。這表現(xiàn)在材質(zhì)選擇更加廣泛、工藝手段更加豐富、藝術(shù)理念更加多元等等方面。 這些變化使琉璃裝飾藝術(shù)一改傳統(tǒng)工藝中的不足,使其作為傳統(tǒng)文化的一部分在當(dāng)代社會(huì)可以成為時(shí)尚審美的潮流,從而煥發(fā)新的生命力。本文對(duì)其發(fā)展模式的研究可以為繼承和發(fā)揚(yáng)我國其他傳統(tǒng)工藝提供一種借鑒。 琉璃藝術(shù)品作為大眾消費(fèi)產(chǎn)品將更深層的進(jìn)入到市場中,以其多元化的藝術(shù)風(fēng)格和高層次的審美情趣,成為現(xiàn)代人追求和實(shí)現(xiàn)時(shí)尚審美的途徑——這是本文對(duì)審美時(shí)尚化的當(dāng)代社會(huì)中琉璃裝飾藝術(shù)發(fā)展趨勢(shì)的展望。
[Abstract]:After a long period of development and evolution, China has formed a set of mature traditional craft of making art of glaze, which embodies the spirit of Chinese traditional aesthetics. However, there are still some problems in the process of the development of traditional glazed glaze art: the choice of material and material making of glazed glaze have great limitations, the traditional glazed glaze has not been completely popularized to ordinary people as an ornament played by aristocrats; Glass itself material characteristics and modeling characteristics have not been fully excavated and so on. These are the important reasons for the slow development of traditional glaze art. In the global background of economic integration, cultural diversity and information networking, fashion aesthetics has become an important feature of contemporary social aesthetic culture. The characteristics of contemporary social fashion aesthetic are that people pursue fashion, mass material consumption culture, but also pursue a more refined spiritual aesthetic culture, requiring a higher quality of life. Under the opportunity of this time, as a component of Chinese traditional aesthetic culture, glass decorative art has attracted the attention of modern people. In the new era background, it has produced great changes in both the craft and the design idea. Thus present the new characteristics of contemporary glaze decorative art. This is manifested in a wider selection of materials, more rich process, more diverse artistic concepts and so on. These changes make the art of glaze decoration change the deficiency in the traditional craftsmanship, make it become the fashion aesthetic trend in the contemporary society as a part of the traditional culture, thus coruscate the new vitality. The research on its development model can provide a reference for inheriting and carrying forward other traditional technologies in China. As a popular consumer product, glazed glaze works of art will enter the market more deeply, with its diversified artistic style and high-level aesthetic taste. It is the way for modern people to pursue and realize fashion esthetics. This is the prospect of the development trend of glass decorative art in the contemporary society of aesthetic fashion.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J527

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 宋暖;博山琉璃及其產(chǎn)業(yè)化保護(hù)研究[D];山東大學(xué);2011年

相關(guān)碩士學(xué)位論文 前3條

1 孔文娜;論傳統(tǒng)琉璃藝術(shù)衰微之原因[D];揚(yáng)州大學(xué);2010年

2 紀(jì)文青;馬賽克藝術(shù)在裝飾設(shè)計(jì)中的應(yīng)用研究[D];北京林業(yè)大學(xué);2012年

3 牟占芳;時(shí)尚審美語境下的現(xiàn)代產(chǎn)品設(shè)計(jì)研究[D];湖南大學(xué);2012年

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本文編號(hào)：2332937