發(fā)布時間：2018-08-13 11:52

【摘要】：禪宗美學(xué)思想是宋代陶瓷茶器設(shè)計美學(xué)特征中最為重要的品質(zhì)之一,其對宋代陶瓷茶具的設(shè)計思維產(chǎn)生了重要影響。在其發(fā)展過程中,源于禪宗美學(xué)中的精神與氣韻始終流轉(zhuǎn)于其中,折射出宋代茶器高古俊逸、質(zhì)樸自然的天趣之美。同時亦體現(xiàn)出茶器實用主義之外的空靈清麗的審美趣味,以及禪宗見色明心的審美意境。本文試圖從茶禪文化的淵源入手,從設(shè)計學(xué)的角度,以共時性與歷時性的研究視角,結(jié)合宋代茶文化、禪宗美學(xué)、陶瓷茶器發(fā)展的三種形態(tài),對宋代茶器的發(fā)展演化過程進(jìn)行了系統(tǒng)性分析。其中重點挖掘宋代茶器中的“茶禪一味”的設(shè)計之道,以此探尋蘊含于器物之中的禪宗美學(xué)思想。通過對宋代茶器設(shè)計形態(tài),以及其背后所包容的設(shè)計思想和造物文化的闡釋和分析,來探究其設(shè)計文化的構(gòu)成形式及思維理念。論文主要從三個方面來進(jìn)行論述：首先,介紹宋代茶器的整體風(fēng)貌及其發(fā)展特點；其次,針對宋代茶器的設(shè)計樣式及形態(tài)展開分析。該部分分別從工藝、材質(zhì)、釉色、紋飾、裝飾、功能等方面來對其設(shè)計方法展開深層次的剖析,并加以概括；同時針對這些設(shè)計特點的來源作輔助考察；最后,從宋代茶器的設(shè)計分析中提煉器物的設(shè)計思想,分別從象征性、審美性和時代性這三個角度來進(jìn)行論述。而通過對宋代茶器設(shè)計風(fēng)格及思想文化的總結(jié),得出現(xiàn)代產(chǎn)品設(shè)計應(yīng)注重在立足于自身文化根基的前提之下,對各種文化采取吸收借鑒、兼收并蓄的態(tài)度,以此不斷創(chuàng)造出有文化底蘊的創(chuàng)新形態(tài)。
[Abstract]:Zen aesthetic thought is one of the most important qualities in the design of ceramic tea ware in Song Dynasty, which has an important influence on the design thinking of ceramic tea ware in Song Dynasty. In the process of its development, the spirit and charm which originated from Zen aesthetics always circulate in it, which reflects the beauty of natural and natural beauty of the tea vessels of the Song Dynasty. At the same time, it also reflects the empty aesthetic taste of tea utilitarianism and the aesthetic conception of Zen. This paper attempts to start with the origin of tea Zen culture, from the angle of design, from the perspective of synchronic and diachronic research, combining the three forms of the development of tea culture, Zen aesthetics and ceramic tea ware in Song Dynasty. The development and evolution of tea ware in Song Dynasty were systematically analyzed. The emphasis is to explore the design way of "tea meditation blindly" in the tea ware of the Song Dynasty, so as to explore the Zen aesthetic thought contained in the utensils. Through the explanation and analysis of the design form of tea ware in Song Dynasty and the design thought and creation culture contained behind it, this paper probes into the composing form and thinking idea of its design culture. The thesis mainly discusses from three aspects: first, introduces the overall style and development characteristics of tea ware in Song Dynasty; secondly, analyzes the design style and form of tea ware in Song Dynasty. This part analyzes and generalizes the design method from the aspects of process, material, glaze, decoration, function, etc. At the same time, it makes an auxiliary investigation on the source of these design characteristics. From the design and analysis of tea ware in Song Dynasty, the design ideas of the objects are discussed from the aspects of symbolism, aesthetics and times. By summing up the design style and ideological culture of tea ware in Song Dynasty, it is concluded that modern product design should pay attention to absorbing and assimilating all kinds of culture on the premise of its own cultural foundation. In order to constantly create a culture inside the innovative form.
【學(xué)位授予單位】：景德鎮(zhèn)陶瓷學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J527

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 金昕;;論禪宗美學(xué)與現(xiàn)代設(shè)計追求的境界[J];藝術(shù)與設(shè)計(理論);2008年08期

2 舒文;《禪宗美學(xué)》介紹[J];浙江大學(xué)學(xué)報(人文社會科學(xué)版);2001年05期

3 祁志祥;孤燈獨照 一相洞開——讀張節(jié)末《禪宗美學(xué)》[J];浙江社會科學(xué);2002年01期

4 王宗興;關(guān)于現(xiàn)象學(xué)與禪宗美學(xué)性質(zhì)的思考[J];重慶三峽學(xué)院學(xué)報;2005年01期

5 傅千里;;十年來禪宗美學(xué)研究綜述[J];云夢學(xué)刊;2009年01期

6 劉方;禪宗美學(xué)研究的重要成果─皮朝綱教授《禪宗美學(xué)史稿》評介[J];青海民族學(xué)院學(xué)報;1995年04期

7 畢洪;鐵蘭葉;;禪宗美學(xué)與寬衣文化[J];藝術(shù)科技;2013年01期

8 皮朝綱;禪宗美學(xué)領(lǐng)域的新開拓——讀鄧紹秋《禪宗生態(tài)審美研究》[J];云夢學(xué)刊;2005年03期

9 梅吟雪;;淺談禪宗美學(xué)給現(xiàn)代設(shè)計的啟示[J];大眾文藝;2012年09期

10 董運庭;;悟得第一義 字字皆心語——皮朝綱先生的禪宗美學(xué)研究[J];中華文化論壇;2014年02期

相關(guān)碩士學(xué)位論文 前9條

1 王承祉;基于禪宗美學(xué)下的現(xiàn)代婚紗設(shè)計應(yīng)用研究[D];齊齊哈爾大學(xué);2015年

2 孫曉明;禪宗美學(xué)自然觀之本體論在服裝設(shè)計中的應(yīng)用與研究[D];大連工業(yè)大學(xué);2015年

3 梁，

本文編號：2180909