【摘要】： 無錫的惠山泥塑歷史悠久,在500多年的發(fā)展歷史中,奠定了自己獨特的歷史地位,在中國工藝美術(shù)史上和天津“泥人張”一南一北,各有千秋,都代表了我國泥塑藝術(shù)的最高成就。 惠山泥塑藝術(shù)作為一種珍貴的民間手工藝術(shù)表現(xiàn)形式,也正面臨著瀕臨失傳的發(fā)展瓶頸,本人認為僅僅依靠保持或保護是遠遠不夠的,應(yīng)該更多的考慮讓其走出研究所,走出博物館,走出歷史,讓它重新回到民間,回到普通人的生活中。我們應(yīng)該在繼承傳統(tǒng)的基礎(chǔ)上對其作進一步的塑造與提升,讓它可以以全新的面貌和生存形式面對現(xiàn)代的市場競爭。 本文通過實地考察和資料分析,收集了目前泥塑藝術(shù)發(fā)展的諸多困境,并分析其形成原因,認為在目前社會發(fā)展日新月異的情況下,只有賦予惠山泥塑新的生命、新的詮釋語言、新的發(fā)展方向,將這種原本最純粹的民間手工藝產(chǎn)品、一種民俗文化轉(zhuǎn)化為一種最切合社會發(fā)展的產(chǎn)業(yè)化經(jīng)濟,才是最終的發(fā)展方向。 同時就目前室內(nèi)裝飾行業(yè)的發(fā)展情況、國內(nèi)國外的實際案例分析了將傳統(tǒng)元素運用在室內(nèi)裝飾中的可行性,也導(dǎo)出了本文的主題即如何將惠山泥塑的傳統(tǒng)元素——色彩元素、造型元素以及紋飾元素導(dǎo)入到室內(nèi)裝飾設(shè)計中,并概括出兩大原則、三大方法將這三種傳統(tǒng)元素運用在室內(nèi)裝飾領(lǐng)域,用傳統(tǒng)而又時尚的手法,使兩者有機結(jié)合,共同發(fā)展,創(chuàng)造出富有地域文化氣息的室內(nèi)環(huán)境。 最后結(jié)合本人的設(shè)計實例做出詳細的說明。 室內(nèi)裝飾設(shè)計是一項需要經(jīng)過長期研究和發(fā)展的藝術(shù),隨著時代的變遷,室內(nèi)裝飾設(shè)計的創(chuàng)作重點也有所側(cè)重,但是結(jié)合民間傳統(tǒng)文化而發(fā)展是具有歷史必然性的。
[Abstract]:The Huishan clay statue in Wuxi has a long history and has established its own unique historical position in the development history of more than 500 years. In the history of Chinese arts and crafts, and Tianjin's "clay man Zhang", one south and one north, each has its own unique characteristics. Both represent the highest achievement of the clay sculpture art in our country. Huishan clay sculpture art, as a precious form of folk handicraft art, is also facing the development bottleneck that is on the verge of being lost. I think it is far from enough to rely solely on preservation or protection. We should give more consideration to getting it out of the research institute. Go out of the museum, out of history, let it back to the folk, back to the life of ordinary people. We should further shape and upgrade it on the basis of inheriting tradition so that it can face the modern market competition with a new look and survival form. Through field investigation and data analysis, this paper collects many difficulties in the development of clay sculpture art at present, and analyzes the reasons for its formation. It is believed that under the circumstances of rapid social development, only Huishan clay sculpture can be endowed with a new life. A new interpretation language and a new direction of development are the ultimate development direction to transform the purest folk handicraft products and folklore culture into a kind of industrialized economy which is most suitable for the development of society. At the same time, according to the development of interior decoration industry at present, the paper analyzes the feasibility of applying traditional elements in interior decoration by actual cases at home and abroad, and also derives the theme of this paper, that is, how to apply the traditional element of Huishan clay sculpture, the color element, to the interior decoration. The modeling elements and the decorative elements are introduced into the interior decoration design, and two principles are summarized. The three major methods apply these three traditional elements in the interior decoration field, and use the traditional and fashionable techniques to make the two elements organically combine and develop together. Create a rich regional culture of indoor environment. Finally, with my design example to make a detailed explanation. Interior decoration design is an art that needs to be studied and developed for a long time. With the change of the times, the creative emphasis of interior decoration design is also focused on, but it is historical inevitability to develop with the combination of folk traditional culture.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：J524

【引證文獻】

相關(guān)碩士學(xué)位論文 前2條

1 胡海英;旅游酒店室內(nèi)空間文化性設(shè)計研究[D];中南林業(yè)科技大學(xué);2013年

2 宋國棟;回紋在現(xiàn)代室內(nèi)設(shè)計中的應(yīng)用研究[D];中南林業(yè)科技大學(xué);2013年

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本文編號：2334225