明式家具造型艺术的禅意研究
发布时间：2018-09-14 11:31
【摘要】： 明式家具作为中国传统物质文化中的一个重要组成部分,不仅仅是古代家居生活的一个重要组成部分,也是传统精神文化物化的产物。以明式家具为代表的中国传统家具文化,一方面反映出家具制造技术的不断进步,另一方面通过这种家具折射出一种文化,一种极具中国艺术特色的文化。佛、禅从传入之时起就在与中国本土的文化、思想、艺术精神等不断地“化合”,在中国化、美学化的过程中不断地丰富了中国的传统文化,对中国艺术精神的动态建构和各门具体艺术形式都产生了重大而深远的影响。以文人士大夫为纽带,以禅意的普遍性、灵活性、粘合性为基本出发点,将虽是出自工匠之手的明式家具呈现出特定的文化精神现象,从而把家具中透露出来的精神意义又指回了禅意之中,将禅意、文人、工匠、家具相连,使得整个过程呈现出有如佛家“圆通”式循环的特点。 本论文主要对明式家具及其造型艺术中蕴涵的禅意进行论述,目的是进一步探讨明式家具中深蕴的文化、艺术内涵。全文主要分为三大部分: 第一部分,主要介绍明式家具的基本发展脉络,包括明式家具的概念、种类以及造型的基本特点分析。 第二部分,对禅意进行基本表述,并通过对禅意在其发展演变过程中表现出来的三个基本特点的分析,将禅意与明式家具之间的内在关系进行合理定位。确定了禅意、文人、工匠、明式家具四者之间的组织关系结构图,明确了文人士大夫在明式家具造型艺术的禅之意境中的重要地位,为文章第三部分的论述做了铺垫。 第三部分,作为论文的主要部分,首先对明式家具中禅意形成的语境进行阐述,包括特定的历史与文化语境的分析。其次,通过“禅的氛围”、“尚空”、“崇简”等方面的论述,进一步分析了禅意在明式家具造型艺术上的表现。 通过以上的论证分析,本文认为:明式家具的造型艺术是中国传统艺术观和艺术精神统摄下的一种极富魅力的线的律动。中国传统艺术观是以代表着礼乐传统文化的儒家思想为中心的;中国传统的艺术精神则是道、佛互渗,进一步说是庄、禅互渗凝聚而成的;而禅意蕴含其间、起着粘合剂的作用。禅意的普遍性、灵活性、粘合性,正是家具这种文化粘结的成功典范。
[Abstract]:As an important part of Chinese traditional material culture, Ming style furniture is not only an important part of ancient household life, but also the product of materialization of traditional spiritual culture. The Chinese traditional furniture culture represented by Ming style furniture reflects the continuous progress of furniture manufacturing technology on the one hand, and reflects a kind of culture through this kind of furniture on the other hand, a culture with Chinese artistic characteristics. Buddha, Zen has continuously "combined" with Chinese native culture, ideology, and artistic spirit since it was introduced. In the process of Sinicization and aestheticalization, Zen has continuously enriched Chinese traditional culture. The dynamic construction of Chinese artistic spirit and various specific art forms have had a significant and profound impact. Taking literati and officials as the link, taking the universality, flexibility and agglutination of Zen as the basic starting point, the Ming style furniture, which is created by artisans, will present a specific cultural spirit phenomenon. Thus, the spiritual meaning revealed in the furniture is pointed back to the Zen meaning, the literati, the craftsmen and the furniture are connected together, so that the whole process presents the characteristics of the "Yuantong" cycle of Buddhism. This paper mainly discusses the Zen meaning in Ming style furniture and its plastic arts, in order to further explore the cultural and artistic connotation of Ming style furniture. The paper is divided into three parts: the first part, mainly introduces the basic development of Ming furniture, including the concept of Ming furniture, categories and basic characteristics of modeling analysis. The second part, the basic expression of Zen meaning, and through the analysis of three basic characteristics of Zen meaning in its development and evolution process, the relationship between Zen meaning and Ming furniture is reasonably positioned. This paper determines the structure chart of the relationship between Zen, literati, craftsmen and Ming furniture, clarifies the important position of literati and officials in the Zen artistic conception of Ming style furniture plastic arts, and paves the way for the discussion of the third part of the article. The third part, as the main part of the paper, firstly expounds the context of the formation of Zen in Ming furniture, including the analysis of specific historical and cultural context. Secondly, through the discussion of "Zen atmosphere", "still empty", "Chongjian" and so on, this paper further analyzes the expression of Zen in Ming style furniture plastic arts. Through the above argument and analysis, this paper holds that the plastic arts of Ming style furniture is a kind of charismatic line rhythm under the control of Chinese traditional art view and artistic spirit. The Chinese traditional view of art is centered on Confucianism, which represents the traditional culture of etiquette and music; the traditional artistic spirit of China is a mixture of Tao and Buddhism, and further, it is a combination of Zen and Zen. Act as a binder. The universality, flexibility and agglutination of Zen is a successful example of the cultural bond of furniture.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K875
本文编号：2242586
[Abstract]:As an important part of Chinese traditional material culture, Ming style furniture is not only an important part of ancient household life, but also the product of materialization of traditional spiritual culture. The Chinese traditional furniture culture represented by Ming style furniture reflects the continuous progress of furniture manufacturing technology on the one hand, and reflects a kind of culture through this kind of furniture on the other hand, a culture with Chinese artistic characteristics. Buddha, Zen has continuously "combined" with Chinese native culture, ideology, and artistic spirit since it was introduced. In the process of Sinicization and aestheticalization, Zen has continuously enriched Chinese traditional culture. The dynamic construction of Chinese artistic spirit and various specific art forms have had a significant and profound impact. Taking literati and officials as the link, taking the universality, flexibility and agglutination of Zen as the basic starting point, the Ming style furniture, which is created by artisans, will present a specific cultural spirit phenomenon. Thus, the spiritual meaning revealed in the furniture is pointed back to the Zen meaning, the literati, the craftsmen and the furniture are connected together, so that the whole process presents the characteristics of the "Yuantong" cycle of Buddhism. This paper mainly discusses the Zen meaning in Ming style furniture and its plastic arts, in order to further explore the cultural and artistic connotation of Ming style furniture. The paper is divided into three parts: the first part, mainly introduces the basic development of Ming furniture, including the concept of Ming furniture, categories and basic characteristics of modeling analysis. The second part, the basic expression of Zen meaning, and through the analysis of three basic characteristics of Zen meaning in its development and evolution process, the relationship between Zen meaning and Ming furniture is reasonably positioned. This paper determines the structure chart of the relationship between Zen, literati, craftsmen and Ming furniture, clarifies the important position of literati and officials in the Zen artistic conception of Ming style furniture plastic arts, and paves the way for the discussion of the third part of the article. The third part, as the main part of the paper, firstly expounds the context of the formation of Zen in Ming furniture, including the analysis of specific historical and cultural context. Secondly, through the discussion of "Zen atmosphere", "still empty", "Chongjian" and so on, this paper further analyzes the expression of Zen in Ming style furniture plastic arts. Through the above argument and analysis, this paper holds that the plastic arts of Ming style furniture is a kind of charismatic line rhythm under the control of Chinese traditional art view and artistic spirit. The Chinese traditional view of art is centered on Confucianism, which represents the traditional culture of etiquette and music; the traditional artistic spirit of China is a mixture of Tao and Buddhism, and further, it is a combination of Zen and Zen. Act as a binder. The universality, flexibility and agglutination of Zen is a successful example of the cultural bond of furniture.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K875
【引证文献】
相关硕士学位论文 前1条
1 简昱昊;楚凤纹在新中式家具设计上的应用研究[D];中南林业科技大学;2013年
，本文编号：2242586
本文链接：https://www.wllwen.com/shekelunwen/kgx/2242586.html
