發(fā)布時間：2018-06-23 03:08

  本文選題：三多堂 + 裝飾紋樣��； 參考：《太原理工大學》2011年碩士論文

【摘要】：三多堂是太谷曹家在其全盛的明清時期建造的以“多�！�、“多子”、“多壽”為主題的壽字型宅院,其建筑和家具的裝飾紋樣清秀雋麗、豐富華美極為精湛。具有很高的藝術(shù)審美價值和深厚的歷史文化價值,是集二者于一身的中華藝術(shù)瑰寶。長期以來三多堂裝飾紋樣的藝術(shù)價值和文化價值沒有引起人們足夠的重視,對三多堂的裝飾紋樣的研究、保護和傳承等工作都很欠缺,我們很難看到有關(guān)三多堂裝飾紋樣的文字和圖形資料的記載。因此給三多堂裝飾紋樣留下一些完整的、準確的記錄,是非常有意義的工作；希望記錄下的寶貴的三多堂裝飾紋樣的研究資料和圖形資料,為三多堂裝飾紋樣的傳承和發(fā)展做出貢獻。 三多堂裝飾紋樣產(chǎn)生于明清時期,明清時期的政治經(jīng)濟的特點：在政治上,封建制度從頂峰到衰落。在經(jīng)濟上,資本主義萌芽出現(xiàn),經(jīng)濟極度繁榮。在此影響下的明清裝飾紋樣的特點——從明代的“簡練大方”逐漸開始追求“華麗繁,明代到清前期的“本土藝術(shù)”開始出現(xiàn)了“中西合璧”的特色；明清時期的思想文化的特點：本土儒道文化受外來佛教文化的沖擊,最終確立了到儒道佛“三教合流”的思想文化格局,在儒道佛三教合流思想影響下的明清裝飾紋樣的特點——融合了三家思想之長,注重以意造形；明清時期的民俗風情背景從早期對神靈圖騰生命的崇拜到對生活的期望和對自身的追求。從對神的崇拜到對人文的追求。在民情風俗影響下的裝飾紋樣題材——從神靈紋樣題材到追求君子品格的紋樣題材大量出現(xiàn),表現(xiàn)了人對自身的關(guān)注。 三多堂裝飾紋樣具有很高的藝術(shù)價值。既延承了前代裝飾紋樣的精髓,又明顯呈現(xiàn)出明清時期的鮮明特色。其裝飾紋樣在風格特征上,從“清秀雋麗”到“繁縟華麗”；其造型特色“完整飽滿”“充實豐富”；其審美意象“天人合一”“陰陽和諧”。三多堂裝飾紋樣同樣具有很深厚的歷史文化內(nèi)涵。三多堂裝飾紋樣風格上呈現(xiàn)的形體簡練、細節(jié)繁瑣的特征印證了明清時期的社會特色；三多堂裝飾紋樣審美上追求的是中、全、和。其印證了明清時期儒道佛三教合流的思想文化特征,三多堂裝飾紋樣表現(xiàn)的主題多為蝙蝠、鹿、梅、蘭、竹、菊等,其體現(xiàn)了明清時期社會風俗民情的特點,表現(xiàn)出對人文的關(guān)注。三多堂裝飾藝術(shù)是一個時代社會物質(zhì)和精神生活的縮影,烙印著不可磨滅的時代特征。三多堂裝飾紋樣也是我國古代裝飾紋樣歷史上最后一個高峰期杰出代表,人們應該給予更多的關(guān)注。 太谷三多堂是中華民族藝術(shù)的代表,應該得到更好的傳承與保護。隨著隨著現(xiàn)代建筑的發(fā)展,很多像三多堂一樣優(yōu)秀的民族藝術(shù)正在迅速的消失,因此要正確處理好保護和發(fā)展的關(guān)系,加強文物建筑的研究和保護工作。另外,對傳統(tǒng)藝術(shù)進行創(chuàng)新以促進其發(fā)展。采用對傳統(tǒng)裝飾元素進行新的藝術(shù)加工。傳統(tǒng)文化與現(xiàn)代高科技手段及新材料有機結(jié)合等方法,還有在精神上追求形神兼?zhèn)涞囊饩郴�境界。我國傳統(tǒng)裝飾藝術(shù)以紋飾華美、樣式豐富聞名于世,有著獨一無二的中國風格,我們應該繼承和發(fā)揚。
[Abstract]:The three duo hall, which was built in the Ming and Qing Dynasties of Taigu by the Cao family in its prosperous Ming and Qing Dynasties, was built on the theme of "multi Fu", "multi son" and "multi life". The decoration patterns of its architecture and furniture are beautiful and beautiful, rich in Chinese beauty and exquisite. It has high artistic aesthetic value and profound historical and cultural value. It is the Chinese art of the two. The artistic value and cultural value of more than three decorative patterns have not been paid enough attention for a long time, and the research, protection and inheritance of the decorative patterns of more than three kinds of decorative patterns are very short. It is very difficult for us to see the records of the words and figures of the decorative patterns of more than three kinds of decorative patterns. Some complete and accurate records are very meaningful work, and we hope to record the valuable research materials and graphic materials of the three decorative patterns to contribute to the inheritance and development of the three decorative patterns.
The political and economic characteristics of the Ming and Qing Dynasties were produced in the Ming and Qing Dynasties and the political and economic characteristics of the Ming and Qing Dynasties. In politics, the feudal system was from the peak to the decline. In the economy, capitalism appeared and the economy was extremely prosperous. The characteristics of the decorative patterns of Ming and Qing Dynasties under this influence - the "simple and generous" from the Ming Dynasty gradually began to pursue "luxuriant and complex" The "local art" in the early period of the Qing Dynasty began to have the characteristics of "Chinese and Western combination"; the characteristics of the ideological culture in the Ming and Qing Dynasties: the local Confucian and Taoist culture was impacted by the foreign Buddhist culture, and finally established the ideological and cultural pattern of the "three religions" of the Confucianism, Taoism and Buddhism, and the decorative patterns of the Ming and Qing Dynasties under the influence of the Confucianism, Taoism and Buddhism of the three religions. Features - the integration of the three ideas and the emphasis on the shape of the mind; the folklore background of the Ming and Qing Dynasties from the worship of the God totem life to the life expectation and the pursuit of itself. From the worship of God to the pursuit of the humanities. The themes of gentleman's character appear in large numbers, showing people's concern for themselves.
The three decorative patterns have high artistic value. It not only extends the essence of the decorative patterns of the former generation, but also clearly shows the distinctive features of the Ming and Qing Dynasties. Its decorative patterns are in style features, from "beautiful and meaningful" to "luxuriant and luxuriant"; its styling features are "full and full" and "full and rich"; its aesthetic image is "the unity of heaven and man". "The harmony of yin and Yang". The three decorative patterns also have profound historical and cultural connotations. The style of the three decorative patterns is concise and the details and tedious features confirm the social characteristics of the Ming and Qing Dynasties; the three decorative patterns are aesthetically pursued in the middle, all, and. It confirms the combination of Confucianism, Taoism and Buddhism in the Ming and Qing Dynasties. The main themes of the three decorative patterns are bats, deer, plum, orchid, bamboo and chrysanthemum, which embodies the characteristics of the social customs and people in the Ming and Qing Dynasties, and shows the attention to the humanities. Patterns are also the outstanding representatives of the last peak period in the decorative patterns of ancient China. People should pay more attention to them.
The three Taigu hall is the representative of the art of the Chinese nation. It should be better inherited and protected. With the development of modern architecture, many excellent national arts like three many are rapidly disappearing. Therefore, it is necessary to correctly deal with the relationship between protection and development and strengthen the research and protection of cultural relics. In addition, the traditional art should be strengthened. We should carry out innovation in order to promote its development, adopt new art processing to traditional decorative elements, combine traditional culture with modern high-tech means and new materials, and pursue the spiritual realm of spirit and spirit. We should inherit and carry forward the style of the country.
【學位授予單位】：太原理工大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J525

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本文編號：2055485