三多堂装饰纹样的文化内涵及艺术特征探究

发布时间：2018-06-23 03:08

本文选题：三多堂 + 装饰纹样　；参考：《太原理工大学》2011年硕士论文

【摘要】：三多堂是太谷曹家在其全盛的明清时期建造的以“多福”、“多子”、“多寿”为主题的寿字型宅院,其建筑和家具的装饰纹样清秀隽丽、丰富华美极为精湛。具有很高的艺术审美价值和深厚的历史文化价值,是集二者于一身的中华艺术瑰宝。长期以来三多堂装饰纹样的艺术价值和文化价值没有引起人们足够的重视,对三多堂的装饰纹样的研究、保护和传承等工作都很欠缺,我们很难看到有关三多堂装饰纹样的文字和图形资料的记载。因此给三多堂装饰纹样留下一些完整的、准确的记录,是非常有意义的工作；希望记录下的宝贵的三多堂装饰纹样的研究资料和图形资料,为三多堂装饰纹样的传承和发展做出贡献。三多堂装饰纹样产生于明清时期,明清时期的政治经济的特点：在政治上,封建制度从顶峰到衰落。在经济上,资本主义萌芽出现,经济极度繁荣。在此影响下的明清装饰纹样的特点——从明代的“简练大方”逐渐开始追求“华丽繁,明代到清前期的“本土艺术”开始出现了“中西合璧”的特色；明清时期的思想文化的特点：本土儒道文化受外来佛教文化的冲击,最终确立了到儒道佛“三教合流”的思想文化格局,在儒道佛三教合流思想影响下的明清装饰纹样的特点——融合了三家思想之长,注重以意造形；明清时期的民俗风情背景从早期对神灵图腾生命的崇拜到对生活的期望和对自身的追求。从对神的崇拜到对人文的追求。在民情风俗影响下的装饰纹样题材——从神灵纹样题材到追求君子品格的纹样题材大量出现,表现了人对自身的关注。三多堂装饰纹样具有很高的艺术价值。既延承了前代装饰纹样的精髓,又明显呈现出明清时期的鲜明特色。其装饰纹样在风格特征上,从“清秀隽丽”到“繁缛华丽”；其造型特色“完整饱满”“充实丰富”；其审美意象“天人合一”“阴阳和谐”。三多堂装饰纹样同样具有很深厚的历史文化内涵。三多堂装饰纹样风格上呈现的形体简练、细节繁琐的特征印证了明清时期的社会特色；三多堂装饰纹样审美上追求的是中、全、和。其印证了明清时期儒道佛三教合流的思想文化特征,三多堂装饰纹样表现的主题多为蝙蝠、鹿、梅、兰、竹、菊等,其体现了明清时期社会风俗民情的特点,表现出对人文的关注。三多堂装饰艺术是一个时代社会物质和精神生活的缩影,烙印着不可磨灭的时代特征。三多堂装饰纹样也是我国古代装饰纹样历史上最后一个高峰期杰出代表,人们应该给予更多的关注。太谷三多堂是中华民族艺术的代表,应该得到更好的传承与保护。随着随着现代建筑的发展,很多像三多堂一样优秀的民族艺术正在迅速的消失,因此要正确处理好保护和发展的关系,加强文物建筑的研究和保护工作。另外,对传统艺术进行创新以促进其发展。采用对传统装饰元素进行新的艺术加工。传统文化与现代高科技手段及新材料有机结合等方法,还有在精神上追求形神兼备的意境化境界。我国传统装饰艺术以纹饰华美、样式丰富闻名于世,有着独一无二的中国风格,我们应该继承和发扬。
[Abstract]:The three duo hall, which was built in the Ming and Qing Dynasties of Taigu by the Cao family in its prosperous Ming and Qing Dynasties, was built on the theme of "multi Fu", "multi son" and "multi life". The decoration patterns of its architecture and furniture are beautiful and beautiful, rich in Chinese beauty and exquisite. It has high artistic aesthetic value and profound historical and cultural value. It is the Chinese art of the two. The artistic value and cultural value of more than three decorative patterns have not been paid enough attention for a long time, and the research, protection and inheritance of the decorative patterns of more than three kinds of decorative patterns are very short. It is very difficult for us to see the records of the words and figures of the decorative patterns of more than three kinds of decorative patterns. Some complete and accurate records are very meaningful work, and we hope to record the valuable research materials and graphic materials of the three decorative patterns to contribute to the inheritance and development of the three decorative patterns.
The political and economic characteristics of the Ming and Qing Dynasties were produced in the Ming and Qing Dynasties and the political and economic characteristics of the Ming and Qing Dynasties. In politics, the feudal system was from the peak to the decline. In the economy, capitalism appeared and the economy was extremely prosperous. The characteristics of the decorative patterns of Ming and Qing Dynasties under this influence - the "simple and generous" from the Ming Dynasty gradually began to pursue "luxuriant and complex" The "local art" in the early period of the Qing Dynasty began to have the characteristics of "Chinese and Western combination"; the characteristics of the ideological culture in the Ming and Qing Dynasties: the local Confucian and Taoist culture was impacted by the foreign Buddhist culture, and finally established the ideological and cultural pattern of the "three religions" of the Confucianism, Taoism and Buddhism, and the decorative patterns of the Ming and Qing Dynasties under the influence of the Confucianism, Taoism and Buddhism of the three religions. Features - the integration of the three ideas and the emphasis on the shape of the mind; the folklore background of the Ming and Qing Dynasties from the worship of the God totem life to the life expectation and the pursuit of itself. From the worship of God to the pursuit of the humanities. The themes of gentleman's character appear in large numbers, showing people's concern for themselves.
The three decorative patterns have high artistic value. It not only extends the essence of the decorative patterns of the former generation, but also clearly shows the distinctive features of the Ming and Qing Dynasties. Its decorative patterns are in style features, from "beautiful and meaningful" to "luxuriant and luxuriant"; its styling features are "full and full" and "full and rich"; its aesthetic image is "the unity of heaven and man". "The harmony of yin and Yang". The three decorative patterns also have profound historical and cultural connotations. The style of the three decorative patterns is concise and the details and tedious features confirm the social characteristics of the Ming and Qing Dynasties; the three decorative patterns are aesthetically pursued in the middle, all, and. It confirms the combination of Confucianism, Taoism and Buddhism in the Ming and Qing Dynasties. The main themes of the three decorative patterns are bats, deer, plum, orchid, bamboo and chrysanthemum, which embodies the characteristics of the social customs and people in the Ming and Qing Dynasties, and shows the attention to the humanities. Patterns are also the outstanding representatives of the last peak period in the decorative patterns of ancient China. People should pay more attention to them.
The three Taigu hall is the representative of the art of the Chinese nation. It should be better inherited and protected. With the development of modern architecture, many excellent national arts like three many are rapidly disappearing. Therefore, it is necessary to correctly deal with the relationship between protection and development and strengthen the research and protection of cultural relics. In addition, the traditional art should be strengthened. We should carry out innovation in order to promote its development, adopt new art processing to traditional decorative elements, combine traditional culture with modern high-tech means and new materials, and pursue the spiritual realm of spirit and spirit. We should inherit and carry forward the style of the country.
【学位授予单位】：太原理工大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J525

【参考文献】