發(fā)布時(shí)間：2018-10-16 14:40

【摘要】：本文從晚明時(shí)期的福建版書籍裝幀設(shè)計(jì)及內(nèi)容的變化為切入點(diǎn),討論由于晚明時(shí)期出現(xiàn)的市井文化導(dǎo)致于處在這一文化浪潮下人們一直一來審美習(xí)慣的改變,以及探討了對(duì)當(dāng)時(shí)書籍裝幀藝術(shù)風(fēng)格的影響。中國(guó)古代市井文化的主體是指市民這個(gè)特殊的社會(huì)群體,因晚明時(shí)期的古代市民階層并不從事農(nóng)業(yè)生產(chǎn),因此與農(nóng)民有很大區(qū)別,其構(gòu)成主要是小商販、藝人等中下層城市居民,主要的區(qū)別體現(xiàn)在了文化水平上,這是由于他們大多受過教育,有一定程度的文化修養(yǎng),但又不同于文人士大夫階層。明代晚期書籍作為一種文化載體呈現(xiàn)出了與宋元時(shí)期截然不同的活潑形態(tài),本文以福建地區(qū)的書籍裝幀的藝術(shù)風(fēng)格為例,通過分析福建版書籍裝幀在版式設(shè)計(jì)上與之前樣式的變化和區(qū)別,根據(jù)插圖內(nèi)容的變化或者書籍風(fēng)格增加大量廣告意味的新形勢(shì),探討了在晚明時(shí)期,作為一種文化載體的書籍,從中所體現(xiàn)的社會(huì)審美出現(xiàn)了世俗化的審美傾向,本文將論證這與晚明時(shí)期高漲的市井文化有很大關(guān)系。 文章分為四個(gè)部分,在第一部分主要闡述晚明福建版書籍裝幀的設(shè)計(jì)變化,通過排版、插圖、印刷這三個(gè)方面體現(xiàn)對(duì)宋元時(shí)期的繼承和區(qū)別。在第二部分將主要論述晚明時(shí)期福建版書籍裝幀設(shè)計(jì)風(fēng)格的改變,如何體現(xiàn)了市井文化在晚明時(shí)期的興盛。在第三部分剖析晚明福建版書籍裝幀的變化下隱藏的社會(huì)主流的審美情趣,由高雅至世俗趣味的轉(zhuǎn)變過程。在第四部分進(jìn)一步闡述這種審美情趣出現(xiàn)的原因,將從時(shí)代社會(huì)的根源、大眾心態(tài)和閱讀人群層次的變化這三個(gè)方面進(jìn)行分析總結(jié),探討市井文化是晚明時(shí)期各地書籍裝幀形成多樣并且有特色的藝術(shù)風(fēng)格的根本原因。
[Abstract]:From the point of view of the design and content change of Fujian edition books in the late Ming Dynasty, this paper discusses the changes of aesthetic habits caused by the appearance of the market culture in the late Ming Dynasty. And discusses the influence on the art style of book binding at that time. The main body of the ancient Chinese market culture is the citizen, a special social group. Because the ancient citizen stratum in the late Ming Dynasty did not engage in agricultural production, it was very different from the peasants, and its composition was mainly small traders. The main difference between the artistes and other middle and lower class city residents is the cultural level, which is because most of them are educated and have a certain degree of cultural accomplishment, but they are different from the literati and officials. The late Ming Dynasty books, as a cultural carrier, showed a very different lively form from the Song and Yuan dynasties. This paper takes the artistic style of books binding in Fujian as an example. Based on the analysis of the changes and differences between the layout design of Fujian edition books and those of the previous ones, and according to the changes of illustrations or the new situation of increasing a large number of advertisements in the style of books, this paper discusses the late Ming Dynasty. As a kind of cultural carrier books, the social aesthetics reflected from the appearance of secularization aesthetic tendency, this article will demonstrate that this has a great deal to do with the upsurge of market culture in the late Ming Dynasty. The article is divided into four parts. In the first part, the author mainly expounds the design changes of the book binding in the late Ming Dynasty and Fujian version, which reflects the inheritance and difference to the Song and Yuan dynasties by typesetting, illustrating and printing. In the second part, the author mainly discusses the change of the design style of Fujian edition books in the late Ming Dynasty, how to reflect the prosperity of the market culture in the late Ming Dynasty. In the third part, the author analyzes the process of the transformation from elegance to worldly taste, which is hidden by the change of the binding design of Fujian edition books in the late Ming Dynasty. In the fourth part, the reasons for the appearance of this kind of aesthetic sentiment will be analyzed and summarized from three aspects: the source of the society of the times, the public mentality and the changes in the level of the reading crowd. It is the fundamental reason why various and distinctive artistic styles of books were formed in the late Ming Dynasty.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J524

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本文編號(hào)：2274677