發(fā)布時間：2018-06-12 14:26

  本文選題：晉商民居 + 建筑��； 參考：《山西大學(xué)》2012年碩士論文

【摘要】：山西是中華文明的發(fā)祥地之一,其傳統(tǒng)文化積淀陳厚、內(nèi)涵豐富。山西人恪守“宅者人之本,人者以宅為家,居若安,即家代昌盛”(《黃帝宅經(jīng)》)的信條,長久以來對宅居建筑的營造都極為重視,現(xiàn)存明清晉商民居建筑就是這方面物質(zhì)與精神的現(xiàn)實反映。 晉商作為明清十大商幫之首,曾長期執(zhí)掌中國金融業(yè)之牛耳。他們秉承“以末致富,以本守之”的傳統(tǒng)觀念,在積累了一定的財富后,回歸鄉(xiāng)里,置地建房。歷經(jīng)幾輩人的辛苦努力,大多在故土興建、修葺了規(guī)�？芍^宏大的宅院,在中國建筑史上留下了濃重的一筆。 山西境內(nèi)現(xiàn)存明清晉商民居一千余座,這一處處疏密有秩、幽廊回轉(zhuǎn)、雕梁畫棟的宅院,其規(guī)模、形制、裝飾手法、陳設(shè)格局,都可謂集南北建筑精華之大成,建筑造型、裝飾藝術(shù)精美絕倫,是不能再生,無可復(fù)制的極具人文和歷史價值的物質(zhì)文化遺產(chǎn),對現(xiàn)代設(shè)計有很好的借鑒與啟示作用。 設(shè)計本是歷史的傳承與延續(xù),是將舊的東西以新的理念,新的手法與方式重新排列組合,以符合現(xiàn)代人生活方式、審美需求的形式服務(wù)于大眾。所以現(xiàn)代設(shè)計應(yīng)該立足于本土,以文化為依托,以歷史為背景。在現(xiàn)代室內(nèi)設(shè)計中尋求一個準(zhǔn)確的契合點,以一種全新的設(shè)計視角解讀晉商民居建筑裝飾藝術(shù)形式,推陳出新、善以利用,無疑是對傳統(tǒng)物質(zhì)因素現(xiàn)代形式的極好再現(xiàn)與發(fā)掘,在傳承歷史的同時也會是一種極具文化底蘊、新舊兩利的設(shè)計風(fēng)格。既可避免在東西方文化迅速交融的今天迷失方向與自我,同時也是對如何使設(shè)計風(fēng)格更具文脈特征的思考與探索。
[Abstract]:Shanxi is one of the birthplaces of Chinese civilization. Shanxi people adhere to the creed that "the people of the house are the people who live in the house, and the people who live in the house are at home, that is, the family is prosperous on behalf of the family" ("the Yellow Emperor House Classic"). For a long time, they have attached great importance to the building of the residential building. The existing residential buildings of Shanxi merchants in Ming and Qing dynasties are the realistic reflection of material and spirit in this respect. Jin merchants as the Ming and Qing Dynasty top ten business groups, long-term leadership of the Chinese financial industry. They inherited the traditional idea of "getting rich by the end and keeping it", after accumulating certain wealth, they returned to the countryside and built houses on the land. After several generations' hard work, most of them were built in their native land, renovated the huge homestead, and left a heavy sum in the history of Chinese architecture. In Shanxi, there are now more than 1,000 Shanxi merchants' houses in the Ming and Qing dynasties. This house, with its rank everywhere, its verandah turning around and its carved beams and paintings, has its scale, shape, decoration techniques, and furnishing pattern, all of which can be described as a collection of the essence of the north and south architecture, and the architectural modeling. The decorative art is a material and cultural heritage which can not be regenerated and can not be reproduced. It has a good reference and enlightenment to modern design. The design is the inheritance and continuation of history, it is to rearrange and combine the old things with new ideas, new methods and ways, in order to meet the modern way of life, aesthetic needs of the form of service to the public. So modern design should be based on local, cultural, historical background. In the modern interior design, it is undoubtedly an excellent representation and excavation of the traditional material factor modern form to seek an accurate joint point of view, to interpret the decorative art form of the folk houses of Shanxi merchants from a new design angle, to bring forth the old and the new, and to make good use of it. At the same time, it will be a cultural heritage, old and new design style. It can not only avoid losing direction and self in the rapid blending of eastern and western cultures, but also reflect and explore how to make the design style more contextual.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J525.1

【參考文獻】

相關(guān)期刊論文 前1條

1 高鑫璽;窯洞的建筑特色及現(xiàn)代室內(nèi)環(huán)境設(shè)計[J];山西建筑;2001年03期

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本文編號：2009984