本文選題：西藏美術(shù) + 帕木竹巴時(shí)期��； 參考：《西藏大學(xué)》2017年碩士論文

【摘要】：本論文旨在探討西藏帕木竹巴時(shí)期工藝美術(shù)的工藝概況、工藝美術(shù)的發(fā)展以及工藝品的藝術(shù)風(fēng)格。文章以社會(huì)背景為主線,全面記載帕木竹巴時(shí)期西藏工藝美術(shù)的歷史進(jìn)程,并完整記述工藝品的代表作品、材質(zhì)、使用功能、文化形態(tài)等方面,還原工藝品的形制、紋樣及其背后的文化內(nèi)涵,闡述工藝美術(shù)所具有的社會(huì)歷史、科學(xué)技術(shù)、實(shí)用美術(shù)、審美文化等文化價(jià)值。用工藝美學(xué)的學(xué)科專業(yè)視角來記述融歷史性、知識(shí)性、學(xué)術(shù)性、實(shí)用性、審美性于一體的西藏帕木竹巴時(shí)期工藝美術(shù),最后向世人展現(xiàn)西藏工藝美術(shù)品映射帕木竹巴歷史時(shí)期精神文明和物質(zhì)文明燦爛的光輝。從帕木竹巴時(shí)期西藏的政治局勢(shì)、經(jīng)濟(jì)背景及文化背景等全面系統(tǒng)的梳理了西藏工藝美術(shù)發(fā)展的歷史與社會(huì)背景,并且在這個(gè)大背景下將明朝與藏地兩地工藝美術(shù)之間的交流、融合、演變的關(guān)系進(jìn)行概況性的闡述。對(duì)帕竹時(shí)期西藏工藝美術(shù)的主要技藝類型及它們的文化形態(tài)進(jìn)行了研究整理,從而可以概括整個(gè)帕竹時(shí)期的西藏工藝美術(shù)的概況。涉及到工藝美術(shù)范躊的金屬鑄造、編制刺繡、服飾、木雕、石雕、骨雕、瓷器以及面具等方面。重點(diǎn)介紹金屬鑄造、編制刺繡及服飾等工藝類型,并結(jié)合文獻(xiàn)資料對(duì)這些工藝品在材質(zhì)、形態(tài)、紋飾等方面上的特點(diǎn)進(jìn)行論證和梳理,最終探索帕木竹巴時(shí)期的工藝美術(shù)在繼承前朝工藝成就的基礎(chǔ)上,將帕竹時(shí)期西藏工藝美術(shù)的社會(huì)歷史、科學(xué)技術(shù)、審美文化等文化形態(tài)表現(xiàn)出來。以歷史學(xué)、宗教學(xué)、民族學(xué)的角度,解析在明朝的“多封眾建”治藏政策影響下西藏工藝美術(shù)發(fā)展的情況。用在宗教用品上數(shù)量的增多、審美風(fēng)格上趨于宗教器物風(fēng)格等方面來體現(xiàn)對(duì)西藏地方實(shí)行“多封眾建”政策下西藏工藝美術(shù)的發(fā)展概況及藝術(shù)風(fēng)格的形成。在梳理這一歷程的時(shí)候,同時(shí)也注重對(duì)造成風(fēng)格演變的原因與背景進(jìn)行探討。帕木竹巴時(shí)期西藏工藝美術(shù)研究以帕木竹巴時(shí)期西藏工藝美術(shù)藝術(shù)品為區(qū)域文化的切入點(diǎn),以傳播西藏民族文化為目的,客觀地反映帕木竹巴時(shí)期西藏工藝美術(shù)的面貌。不僅對(duì)工藝美術(shù)從業(yè)人員具有理論引導(dǎo)的作用,對(duì)喜愛收藏與探究西藏區(qū)域文化發(fā)展者亦具有參考價(jià)值。更是對(duì)中國(guó)工藝美術(shù)歷史的形成與發(fā)展起到重要的作用,在中國(guó)工藝美術(shù)文化中占有舉足輕重的歷史地位。
[Abstract]:The purpose of this paper is to discuss the process of arts and crafts, the development of arts and crafts and the artistic style of arts and crafts in Parmuba period of Tibet. Taking the social background as the main line, the article comprehensively records the historical process of Tibetan arts and crafts in the period of Parmuzhuba, and fully describes the representative works, materials, use functions, cultural forms, and so on of the handicrafts, so as to restore the shape of the handicrafts. This paper expounds the cultural values of arts and crafts, such as social history, science and technology, practical art, aesthetic culture and so on. The arts and crafts of the period of Pam Mu Ba in Tibet, which is integrated with historical, intellectual, academic, practical and aesthetic aspects, are described from the perspective of subject and specialty of craft aesthetics. Finally, the Tibetan arts and crafts reflect the brilliant spiritual civilization and material civilization in the historical period of Parmuba. From the perspective of the political situation, economic background and cultural background of Tibet during the period of Parmuzhuba, this paper systematically combed the historical and social background of the development of Tibetan arts and crafts, and under this background, it will exchange arts and crafts between the Ming Dynasty and Tibet. Fusion, evolution of the relationship for a general description. In this paper, the main technical types and cultural forms of Tibetan arts and crafts in Pazhu period are studied and arranged, so as to summarize the general situation of Tibetan arts and crafts in the whole period of Pazhu period. It involves metal casting, embroidery, clothing, wood carving, stone carving, bone carving, porcelain and masks. This paper mainly introduces the technological types of metal casting, embroidery and clothing, and discusses and combs the characteristics of these handicrafts in material, shape, pattern, etc. Finally, on the basis of inheriting the achievements of the previous period, the arts and crafts of Pabu period were represented by the social history, science and technology, aesthetic culture and other cultural forms of Tibetan arts and crafts in Pazhu period. From the perspective of history, religion and ethnology, this paper analyzes the development of Tibetan arts and crafts under the influence of the policy of "multi-banding and public building" in the Ming Dynasty. The development of Tibetan arts and crafts and the formation of artistic style are reflected in the aspects of increasing the quantity of religious articles and tending to religious objects in aesthetic style. In combing this process, we also pay attention to the causes and background of style evolution. The study of Tibetan arts and crafts in Parmuzhuba period took the art of arts and crafts in Parmuzhuba period as the entry point of regional culture and in order to spread Tibetan national culture objectively reflected the appearance of Tibetan arts and crafts in Parmuzhuba period. It is not only a theoretical guide for arts and crafts practitioners, but also a reference for those who like to collect and explore the development of Tibetan regional culture. It also plays an important role in the formation and development of Chinese arts and crafts history and occupies a pivotal historical position in Chinese arts and crafts culture.
【學(xué)位授予單位】：西藏大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J120.9

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