明清建筑室内风格的现代“写意”式继承研究

发布时间：2018-02-27 05:23

本文关键词： 室内设计明清风格写意式继承　出处：《吉林建筑大学》2015年硕士论文　论文类型：学位论文

【摘要】：传统建筑的现代继承思潮,始于上世纪2、30年代,在中国近现代的建筑发展中广泛而持久,通过“继承与创新”、“新而中”、“形似神似”等各种不同的创作思想与倾向,反省本民族的文化坐标,寻找本民族的精神寄托,是提升设计内涵,体现中国精神、民族色彩的重要思想内容和智慧源泉。任何成功的艺术形式都是根植于本民族的传统文化之中而发展成熟的,这一点已无需争论,而实际上,当前所谓中国传统建筑文化的具体内容到目前依然还是面目不清,甚至存在被曲解和误读现象,短期内也难以求得一个明确清晰的答案,设计实践中的所谓民族形式更多的还仅停留于形式等外部特征的沿袭与挪用,而对其背后的精神内涵与创作思想却知之甚少,旧形式与新的功能要求,与新技术、新材料、新结构之间的矛盾暂时还未彻底化解。我们既不能抛弃历史传统遗产,失却自己的文化精髓,也不能开历史倒车,像威廉·莫里斯那样重回手工时代,漠视新旧生产生活方式等问题间的矛盾与制约,那么,传统中式风格的室内设计关键是在哪里?传统设计文化中哪些是值得借鉴与发扬的?未来的发展前景又如何?这也是本人在过去的教学以及设计实践过程中经常思考的问题,中国传统的建筑风格形成较早,并在明清时达到顶峰,本文重新审视这一时期的建筑室内风格,提出以“写意”的方式从事传统风格室内环境的设计创作,尝试以新的维度视角摆脱长久以来形成的详尽如实的形态摹写困扰,突出强化设计中的意境、内涵,着重表现整体环境的“意态”、“神韵”和设计者的主观情趣抒发,同时吸收借鉴国外优秀设计文化的创作思想,充分发挥文化的包容性和融合性,在借鉴中传承传统文化,在创新中发展传统文化,最终,解放创作思想,摆脱表面形式等方面的羁绊,形成富于创新意识和文化涵义的设计表达语言,重拾文化记忆和文化自信,增强本土文化的竞争力。受理解、认识和时间所限,这篇论文仅可算是对这些内容粗浅思考与认知的一个简单梳理和总结,期望它能为这方面的设计实践提供参照借鉴。
[Abstract]:The trend of modern inheritance of traditional architecture, which began in the 230s in 0th century, has been extensive and lasting in the development of modern architecture in China. Through "inheritance and innovation", "new to middle", "form like god" and other different creative ideas and tendencies, etc. To reflect on the cultural coordinates of the nation and to seek the spiritual sustenance of this nation is to enhance the connotation of the design and embody the spirit of China. The important ideological content and the source of wisdom of the national color. Any successful art form is rooted in the traditional culture of the nation and has matured, which is no longer controversial, but in fact, At present, the specific contents of the so-called Chinese traditional architectural culture are still unclear, even misinterpreted and misread. It is also difficult to find a clear and clear answer in the short term. In the design practice, the so-called national form is more often followed and misappropriated by the external characteristics such as form, but the spiritual connotation and creative thought behind it are little known, the old form and the new functional requirements, the new technology, the new material, the old form, the new functional requirement, the new technology and the new material. The contradiction between the new structures has not been completely resolved for the time being. We cannot abandon the historical heritage, lose the essence of our own culture, nor can we reverse history and return to the manual era like William Morris. Ignoring the contradictions and constraints between old and new production and life styles, where is the key to traditional Chinese style interior design? Which of the traditional design cultures is worthy of reference and development? What are the prospects for future development? This is also a question that I often think about in the past teaching and design practice. The Chinese traditional architectural style was formed earlier and reached its peak in the Ming and Qing dynasties. This paper reexamines the architectural interior style of this period. In this paper, the author puts forward the idea of "freehand brushwork" in the design of traditional indoor environment, tries to break away from the detailed and truthful description of form from a new dimension angle, and to emphasize the artistic conception and intension in the design. Focusing on the expression of the "meaning" of the overall environment, "charm" and the subjective interest of the designer, absorbing and drawing on the creative ideas of foreign excellent design culture, giving full play to the inclusiveness and integration of the culture, and inheriting the traditional culture from the reference, In the process of innovation, we should develop traditional culture, finally liberate creative thoughts, get rid of the fetters of surface form, form a design expression language rich in innovation consciousness and cultural meaning, and regain cultural memory and cultural self-confidence. By understanding, understanding and time limit, this paper can only be regarded as a simple sort and summary of the superficial thinking and cognition of these contents, and it is expected that it can provide a reference for the design practice in this respect.
【学位授予单位】：吉林建筑大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：TU238.2

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