元明工艺美术风格流变

发布时间：2018-03-03 15:27

本文选题：元明　切入点：工艺美术风格　出处：《复旦大学》2011年博士论文　论文类型：学位论文

【摘要】：本文旨在探讨自元代到明代工艺美学风格的发展状况。文章以工艺美术品的图案、色彩和造型作为主要分析内容,并根据典型性、影响性和延续性的原则,选择青花瓷、漆器和明式家具作为代表性器物,并结合其他工艺品种,运用二重证据法、比较法和图像学等方法,探索在元明时期的不同时段内,器物艺术特征的流传、演变情况及其背后的成因。论文分为元代、明代早中期和明代晚期三个时段：元代以元青花和漆器为代表,该时期工艺美术风格呈现出多元并存、斑斓驳杂的面貌,既有因外来品种传入而带来的异域情调,又有宋代审美旨趣的沿续,还有多元文化融汇下器物艺术的新风尚。第二时段明代早中期工艺美术将以青花瓷作为主线,探索明代在继承元代工艺成就的基础上,如何传承与恢复唐宋传统美学风范的历程；从风格演变上来看,先后经历了前期宫廷工艺美术的规整化和中期工艺美术的世俗化。明代晚期在文人的积极影响和参与下,工艺美术的文人趣味得以确立与流行,以青花瓷和明式家具为代表的晚明工艺美术,体现出对简洁、自然、古雅、含蓄和抒情性的追求,充分反映了对宋代审美旨趣的复归。因此,元明时期工艺美术风格流变的历程,无疑展示出元代工艺风貌如何在宋代基础上发生重大转折,又如何在明代逐渐与中国传统美学范式相结合,并在新时代呈现出新的特色,最终再次回归宋代审美旨趣的漫长而复杂的历程。本文在梳理这一历程的同时,也注重对造成风格演变的原因与背景进行探讨。
[Abstract]:The purpose of this paper is to discuss the development of craftsmanship aesthetic style from Yuan Dynasty to Ming Dynasty. The article mainly analyzes the patterns, colors and shapes of arts and crafts, and selects blue and white porcelain according to the principles of typicality, influence and continuity. Lacquer ware and Ming furniture as representative objects, combined with other craft varieties, the double evidence method, comparative method and image science were used to explore the circulation of the artistic features of the objects in different periods of the Yuan and Ming dynasties. Evolution and the causes behind it. The thesis is divided into three periods: the Yuan Dynasty, the early and middle Ming Dynasty and the late Ming Dynasty: the Yuan Dynasty is represented by the Yuan Blue and Blue Flower and lacquer ware. There is not only the exotic atmosphere brought by the introduction of foreign varieties, but also the continuation of the aesthetic purport of the Song Dynasty, as well as the new trend of the arts and crafts in the early and middle Ming Dynasty, which will be the main line of the arts and crafts of the early and middle Ming Dynasty. On the basis of inheriting the technological achievements of the Yuan Dynasty, this paper explores how to inherit and restore the traditional aesthetic style of the Tang and Song dynasties. It has experienced the regularization of arts and crafts in the early court and the secularization of arts and crafts in the middle. In the late Ming Dynasty, with the active influence and participation of the literati, the taste of the literati in the arts and crafts was established and popular. The late Ming arts and crafts, represented by blue and white porcelain and Ming style furniture, reflected the pursuit of simplicity, nature, elegance, implicature and lyricism, which fully reflected the restoration of aesthetic purport of the Song Dynasty. The evolution of arts and crafts styles in the Yuan and Ming dynasties undoubtedly shows how the style and features of the Yuan Dynasty took a significant turn on the basis of the Song Dynasty, and how it gradually combined with the traditional Chinese aesthetic paradigm in the Ming Dynasty, and presented new features in the new era. Finally, it returns to the long and complex process of aesthetic purport of Song Dynasty. While combing this process, this paper also pays attention to the causes and background of the evolution of style.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：K876.3

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