藏族“凡水有灵”造物设计思想研究

发布时间：2018-01-09 01:07

本文关键词：藏族“凡水有灵”造物设计思想研究　出处：《湖南工业大学》2017年硕士论文　论文类型：学位论文

【摘要】：“但凡遇水,皆潜神灵,造物用物,敬畏虔诚”。十六个字,概括了“凡水有灵”造物观的核心要义。西藏原始先民信奉“万物有灵”,对水的信仰尤为突出。藏民相信,西藏丰饶的资源自大海而来,高原之水犹如“甘露”,可以涤除尘垢、祛病消灾、消减罪业。另外,水神、龙神与“鲁”神居于地底和水中,掌管与他们生命、生产和生活息息相关的繁衍、财富、健康和吉祥,要有幸福的今生、极乐的来世,虔心供养水中神灵是必经之道。“凡水有灵”造物观真正要表达的,是藏民对美好生活的积极向往,对圆满生命的满心期待。“凡水有灵”造物成果分为6个类别:⑴、水缸亭、水缸和水瓢一类的水具;⑵、茶具、酒器和汤锅一类的饮具;⑶、盛水供佛、祭祀水神的瓶(杯、碗)类法器;⑷、出自大海的各类珍宝;⑸、利用水能的水磨、水力转经轮;⑹、“风马”色彩和图案所运用的“水”元素。设计者在造物过程中将严谨的秩序性、丰富的层次感融入到材质、造型、装饰和工艺之中,藏民继而在使用环节中灌注以仪式习俗。这使得它们脱离了仅仅实现功能属性的一般器物层次,在提供视觉、情感愉悦的基础之上,寄托深沉肃穆的精神信仰,始终保持自我与神灵的内在连接。这种原生态少数民族的造物观给高原环境和生活带来了诸多积极影响,鼓励我们从中挖掘民族性的传统精魂,以期为日益功利化、模式化的现代设计提供灵感与启示。藏族“凡水有灵”造物成果的整体艺术特征表现为层级性、庄严性、秩序性和朴拙性,焕发出民族独有的神性之美的耀眼光芒。这样的审美特征是能工巧匠们经由精神世界的不懈探索、大智大慧的长久积累所精心追求的。设计行为通过从精神到物质,再回到精神的循环,实现了精神信仰的实物化,旨在追求“凡水有灵”造物过程及成果中物性、人性与神性的内在平衡与和谐统一。“凡水有灵”造物设计思想为现代设计所带来的启示与三个问题有关:为谁造物?有理想、有信仰、有自我的藏民;因何造物?灵魂的归属、精神的安住;如何造物?用心感受,以手塑形,由形向神,独运匠心,追求饱含内在凝聚力与生命力的神性之美,做功能更佳、形态更美、精神内核更为丰盈的设计。
[Abstract]:"Whenever the water, all hidden gods, creation, fear of pious." sixteen words, "where the water has summed up the core essence of the spirit" concept of creation. Tibet ancient people believed in the "animism", the belief of water is particularly prominent. The Tibetans believe that Tibet rich resources come from the sea. The plateau of the water like "dew" can eliminate dirt, illnesses and misfortunes, reduce crime. In addition, the water dragon, and "Lu" God is in the ground and water, and in charge of their lives, production and life are closely related to reproduction, wealth, health and good luck, to have a happy life, blissful afterlife, devotion water is the only way for God. "Where the water has spirit of creation concept really want to express, is the Tibetan people actively yearning for a better life, look forward to a successful life." where the water has spirit creation achievements are divided into 6 categories: first, the water tank and a bailer Pavilion, water; 2 A pot of wine, tea, and the drinking water; the, for the Buddha worship water bottle (cup, bowl) class of instruments; the sea, from all kinds of treasures; the use of water, water, water prayer wheel; 6, "Wind Horse" colors and patterns in the use of water "elements. Designers in the strict order of creation process, rich sense of hierarchy into the material, shape, decoration and process, and then the Tibetans in the use of links to ritual customs. Perfusion which makes them out just realize the functional attributes of the general level of implements, in providing vision, based on emotional pleasure, sustenance deep and solemn spirit of faith, always maintain self and divine inner connection. The original ecological minority creation view brings many positive effects to the plateau environment and life, we encourage mining nationality traditional spirit in order to more utilitarian, die Provide the inspiration and Enlightenment of modern design. The overall artistic characteristics of Tibetan "where the water has spirit creation achievement for hierarchy, solemn, orderly and sincere, full of dazzling light of unique divine beauty. The aesthetic characteristics of such skilled craftsmen through unremitting exploration is a spiritual world. For a long time accumulation of wisdom carefully. The pursuit of design behavior through from spirit to material, and then return to the spirit of the cycle, achieve the kind of spiritual beliefs, to the pursuit of" where the water has spirit creation process and results in the properties of the inner balance and harmony of humanity and God. "Where have the spirit of water" making design thought brought about by the Enlightenment of modern design with three questions: for whom the creation? Have the ideal, faith, self creation of Tibetans; why? Belong, the spirit of how to live; creation? Felt, in plastic The shape, shape by God, full of inner pursuit of independence Yun Jiang Xin, cohesion and vitality of the divine beauty, do function better, more beautiful shape, spirit more abundance of design.

【学位授予单位】：湖南工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J505

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