發(fā)布時間：2018-08-03 11:21

【摘要】：中國琉璃自西周生產(chǎn)以來,因受到技術(shù)和原料的限制,僅北京和博山兩處設有作坊。博山的琉璃業(yè),大約從元末明初起開始成型。博山在自然資源、歷史傳承、文化影響等多個方面的條件都促成了其發(fā)展成為琉璃生產(chǎn)的重鎮(zhèn)。博山琉璃種類繁多,工藝精湛,代表著中國琉璃工藝發(fā)展的主要方向。但在相當長的時間以來,由于傳承至今的載體較少,特別是在不同時期出現(xiàn)的琉璃產(chǎn)品在工藝技法和其藝術(shù)風格的的探究上,成文資料極缺,加之琉璃器作為皇家把玩的典范極少出現(xiàn)在民間,它始終屬于一個小眾的范疇,大多數(shù)人對琉璃工藝的了解不多,認識有限。再加上琉璃生產(chǎn)的環(huán)境較為惡劣、技術(shù)難以短期內(nèi)學成、企業(yè)發(fā)展缺乏創(chuàng)新、政府未能足夠重視等多方面因素,導致了目前博山琉璃發(fā)展緩慢。 本文建立在個人實踐學習琉璃工藝,進而完成創(chuàng)作的基礎之上,試圖梳理博山琉璃發(fā)展興盛的原因及其制作工藝特色,著重對博山琉璃傳統(tǒng)制作工藝進行論述。通過對其不同時期品類在藝術(shù)風格上的設計學分析,就其工藝技法與藝術(shù)風格之間的關聯(lián)性、新時期博山琉璃的工藝傳承與創(chuàng)新發(fā)展進行探究。琉璃作為一種特殊材料,應運而生了將其特質(zhì)發(fā)揮到極致的工藝技法,也因其工藝技法的呈現(xiàn),促成了其藝術(shù)風格的流出。 筆者以為,任何工藝的傳承都無法脫離時代發(fā)展的背景環(huán)境作為載體,既要迎合時代發(fā)展的需求,又不可全然拋棄傳統(tǒng)的工藝。在產(chǎn)品的研發(fā)和創(chuàng)新中,需基于當代日常生活進行創(chuàng)作,不斷進行工藝技術(shù)的革新,并運用當代的設計學理念進行理論指導。與此同時,發(fā)展創(chuàng)新性的工作室,在當?shù)匚幕�產(chǎn)業(yè)背景下積極進行品牌的打造,利用多種平臺深入市場進行推廣,希望可以為新時期下博山琉璃的發(fā)展帶來新的契機。
[Abstract]:Since its production in the Western Zhou Dynasty, only Beijing and Boshan have set up workshops due to technical and raw material restrictions. Bo Shan glaze industry, about from the end of the Yuan Dynasty and the beginning of Ming began to take shape. Boshan in natural resources, historical heritage, cultural impact and other aspects of its development into a major glass production. Boshan glaze variety, exquisite craftsmanship, represents the main direction of the development of glass technology in China. However, for quite a long time, due to the lack of carrier, especially in the exploration of craft techniques and artistic style of glazed glaze products in different periods, written materials are extremely scarce. In addition, as a model of royal play, glass ware rarely appears in the folk, it always belongs to a minority category, most people do not know much about the art of glazed glaze, knowledge is limited. In addition, the environment of glass production is relatively bad, the technology is difficult to learn in the short term, the enterprise development is lack of innovation, the government does not pay enough attention to many factors, which leads to the slow development of Bushan glaze. This paper is based on personal practice to study the art of glazed glaze, and then on the basis of the completion of the creation, trying to comb the reasons for the development and prosperity of Bushan glaze and the characteristics of its production process, focusing on the discussion of the traditional making technology of Bushan glaze. Through the analysis of art style in different periods, this paper probes into the relationship between art technique and art style, and the inheritance and innovation of Bushan glaze in the new period. As a kind of special material, glaze emerges as the times require to exert its characteristic to the extreme craft technique, also because of its craft technique present, promoted its artistic style outflow. The author thinks that the inheritance of any craft can not be separated from the background environment of the development of the times as a carrier, it should not only meet the needs of the development of the times, but also can not completely abandon the traditional technology. In the research and development and innovation of products, it is necessary to create based on the daily life, to innovate the process technology, and to use the contemporary design concept to guide the theory. At the same time, the development of innovative studios, in the context of the local cultural industry actively brand building, using a variety of platforms to promote the market, hoping to bring new opportunities for the development of Bushan glaze under the new era.
【學位授予單位】：云南大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J527.4

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相關期刊論文 前1條

1 張維用;《顏山雜記·琉璃》校注[J];玻璃與搪瓷;1996年06期

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本文編號：2161589