中式会馆屏风设计

发布时间：2018-07-04 11:59

本文选题：屏风艺术 + 文化传承　；参考：《天津科技大学》2015年硕士论文

【摘要】：中华文化博大精深,之于手工艺更是凝结了各代风华后呈现给众人。中式家具早已声名海外,引领各界大师纷纷效仿,而作为其中比较独特的一类——屏风,却是不如桌椅之流来的热门,本文意在通过几个方面,分析中国传统屏风的发展流变,包含的中式文化内涵,并细化研究其与中式会馆空间的关联。首先,读史明鉴,不仅仅能明人心智,在设计上如果能博览古今,深入探讨本民族最根本的文化,便可以驾轻就熟,设计出真正有文化灵魂的产品,就像现在的日本,对禅宗文化的细致入微的分解研究,再加上本身在设计中的实践,理论上有了“无意识设计”、“再设计”等为众人津津乐道的设计理念；实践上有“无印良品”、“三宅一生”等国际认知程度相当高的品牌。所以,研究屏风发展历史与文化内涵,是怎样都绕不开的一关。其中包含了中国的建筑风水学,传统人文伦理学,还有中国传统绘画艺术等等。其次,现代社会的发展往往变迁着文化、需求与技艺。文化和需求上来讲在古代,屏风是皇权贵族、文人雅士的寄情之物,是风水文化的点睛之笔,屏风虽自始至终都不是大众消费品,但是在旧时代却是皇权贵族必备的一件器具,如同桌椅板凳。现代社会中空间的拥挤与建筑格局的变化使得屏风的需求大大降低,越来越少的家庭选择为室内搭配一件屏风,反而是那些大的空间区如会馆、餐馆等用的比较多,但是其往往比较看重实用性,所以现在的隔断较之屏风要多的多,虽然本质上二者都是屏障之物,但是慢慢的,屏风开始自动为古风之屏障做起了代言,而那些可快速变化造型,瞬间开合的现代屏障之物则多被称为隔断；技艺上来讲,古代多为木质,以榫卯结构连接,多讲究气节风韵,现代中其材料繁复之多,工艺之复杂早不可同年而语也。通过此次分析,本着古文今用的意图,想完整的再现中国传统屏风文化,并结合现代需求,设计出一件适合现代中式会馆的屏风。
[Abstract]:Chinese culture is profound, in the handicraft is condensed after all generations of flamboyant presented to everyone. Chinese furniture has long been famous overseas, leading the masters from all walks of life to emulate it one after another, but as one of the more unique category-screen, it is not as popular as table and chair. This paper aims to analyze the development and evolution of Chinese traditional screen through several aspects. Including the Chinese cultural connotation, and detailed study of its relationship with the Chinese hall space. First of all, by reading Shi Mingjian, we can not only understand the minds of people, but if we can explore the ancient and modern times in terms of design and deeply explore the most fundamental culture of our nation, we will be able to master and design products that really have a cultural soul, just like Japan today. The detailed research on the decomposition of Zen culture, coupled with its own practice in design, has in theory a "unconscious design", "redesign" and other design concepts that people love to talk about; in practice, there are "imprinted good products." "Miyake Life" and other international recognition of the high level of brand. Therefore, how to study the history and cultural connotation of screen development is a difficult problem. It includes Chinese architecture feng shui, traditional humanities ethics, and Chinese traditional painting art. Secondly, the development of modern society often changes culture, demand and skill. In terms of culture and needs, in ancient times, screen was the object of imperial power and aristocrat, and it was the finishing touch of geomantic culture. Although screen was not a consumer goods for the masses from the beginning to the end, it was a necessary appliance for royalty and aristocracy in the old era. Like tables and chairs. In modern society, the demand for screens has been greatly reduced by the crowding of space and the changes in building patterns. Fewer and fewer families choose to match a screen indoors, but on the contrary, those large space areas such as clubhouses, restaurants, and so on are used more. However, it tends to value practicality, so now there are more partitions than screens. Although both are essentially barriers, but slowly, screens begin to speak automatically for the barriers of ancient styles. And those modern barriers that can change their shapes quickly and are instantly opened and closed are often called separations. Technically speaking, ancient times were mostly wooden, connected with tenon and tenon structures, with more emphasis on style and charm, and modern materials were so complicated that they were complicated. The complexity of the craft can not be the same as the same year. Through this analysis, in line with the intention of using the ancient Chinese style, we want to completely reproduce the traditional Chinese screen culture, and combine with the modern demand, design a screen suitable for the modern Chinese guild hall.
【学位授予单位】：天津科技大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：TS664.01

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