常家莊園建筑石構(gòu)件裝飾藝術(shù)研究
發(fā)布時(shí)間：2018-07-24 12:35
【摘要】：晉商民居三雕藝術(shù)有著獨(dú)特的地域特色和文化內(nèi)涵,作為三雕范疇的榆次常家莊園建筑石構(gòu)件,其精美的雕刻樣式,豐富的紋樣內(nèi)容,獨(dú)特的文化底蘊(yùn),在晉商民居石雕中占有重要的地位,是中國(guó)石雕藝術(shù)的重要組成部分。 通過(guò)對(duì)常家莊園建筑石構(gòu)件的裝飾起源、藝術(shù)特征、裝飾手法、審美意蘊(yùn)、文化內(nèi)涵做系統(tǒng)的分析、研究和論證,揭示出常家莊園石構(gòu)件的美不在于大而在于勢(shì)、不在于工而在于巧、不在于景而在于韻、不在于形而在于神,是內(nèi)容與形式的統(tǒng)一,物質(zhì)與精神的統(tǒng)一,功能與美學(xué)的統(tǒng)一。 常家莊園石構(gòu)件豐富多樣的裝飾題材,靈活多變的紋樣形式,應(yīng)用充分的裝飾空間,把整個(gè)建筑環(huán)境裝飾的美輪美奐。其中最具特色的是吉祥文化的應(yīng)用,把具有吉祥寓意的植物、動(dòng)物、人物、器物、漢字等經(jīng)過(guò)省略法、變形法、修飾法等手法運(yùn)用在裝飾形式中,以“諧音”、“明顯暗喻”的文學(xué)手法體現(xiàn)求吉祈福的思想,對(duì)石構(gòu)件的裝飾達(dá)到了“有圖必有意,有意必吉祥”的地步。不僅如此,其造型粗獷雄渾、樸實(shí)厚重,其手法線(xiàn)條流暢、疏密有致,虛實(shí)相生,是清代建筑裝飾中的杰作,同時(shí)也可以作為獨(dú)立的藝術(shù)品來(lái)欣賞。 在空間布局上,其布局嚴(yán)謹(jǐn),規(guī)制峻整,北方宅第與南方園林完美結(jié)合,橋、廊、廳、臺(tái)等石雕作品與建筑渾然一體。無(wú)論從規(guī)模、氣勢(shì)、結(jié)構(gòu)、布局、營(yíng)造法式及文化內(nèi)涵,均把“儒商”這一體質(zhì)體現(xiàn)得淋漓盡致。其天人合一、師法自然的營(yíng)造法式,體現(xiàn)出中國(guó)儒道哲學(xué)的本質(zhì)與精神。 常家莊園建筑石構(gòu)件裝飾藝術(shù)是民間美術(shù)形式之一,是中國(guó)傳統(tǒng)文化的重要組成部分,是集意識(shí)形態(tài)和價(jià)值取向?yàn)橐惑w的人類(lèi)智慧結(jié)晶,是理性的社會(huì)沉淀,反映著地域文化的遺存面貌,也蘊(yùn)含著中國(guó)傳統(tǒng)審美觀、民族意識(shí)和精神祈求。同時(shí),它根植于中國(guó)傳統(tǒng)文化和儒道思想,生存于勞動(dòng)者深厚的生活土壤中,代表著中華民族的民族精神。 常家莊園留給世人的是一座研究中國(guó)民俗文化的寶庫(kù),其建筑石構(gòu)件,雕工精細(xì)、造型考究、與其獨(dú)特的圖案樣式不僅為民間美術(shù)留下了寶貴的資料,而且為明清石雕的研究提供了可考的理論依據(jù)。
[Abstract]:As a stone component of Yuci Changjia Manor building in the category of three carvings, the art of SanDiao of Shanxi merchants houses has unique regional characteristics and cultural connotations, with its exquisite engraving style, rich pattern content and unique cultural background. It plays an important role in the stone carving of Shanxi merchants and is an important part of Chinese stone carving art. Through the systematic analysis, research and demonstration of the decorative origin, artistic characteristics, decorative techniques, aesthetic implication and cultural connotation of the stone components of Changjia Manor, it is revealed that the beauty of the stone components of Changjia Manor lies not in the big but in the potential. It is the unity of content and form, material and spirit, function and aesthetics. Changjia manor stone components rich and diverse decorative themes, flexible patterns, the application of adequate decorative space, the entire architectural environment decoration beautiful. Among them, the most characteristic is the application of auspicious culture, in which plants, animals, characters, utensils and Chinese characters with auspicious connotations are used in decorative forms by means of ellipsis, deformation, modification, and so on, with "homophony". The literary technique of "obvious metaphor" embodies the thought of seeking good luck and blessing, and the decoration of stone components reaches the point of "having a plan and intending to be lucky". Not only that, its shape is rough and powerful, simple and heavy, its technique is smooth, dense, empty and solid, is a masterpiece of architectural decoration in the Qing Dynasty, but also as an independent art to appreciate. In the space layout, its layout is rigorous, the regulation is steep, the northern house and the southern garden perfect union, the bridge, the corridor, the hall, the platform and so on stone sculpture works and the architecture is integrated. No matter from scale, momentum, structure, layout, construction of French style and cultural connotation, "Confucian merchants" the physique is reflected incisively and vividly. The harmony of nature and man, and the creation of the natural style of learning from the law reflect the essence and spirit of Chinese Confucianism and Taoism. The decorative art of stone components of Changjia manor building is one of the forms of folk art, an important part of Chinese traditional culture, the crystallization of human wisdom which integrates ideology and value orientation, and the rational social precipitation. It reflects the remains of regional culture, and also contains Chinese traditional aesthetics, national consciousness and spiritual petition. At the same time, it is rooted in the traditional Chinese culture and Confucianism and Taoism, living in the deep living soil of workers, representing the national spirit of the Chinese nation. Changjia Manor left the world with a treasure house to study Chinese folklore culture. Its stone components, fine carving and exquisite modelling, not only leave valuable information for folk art, but also for its unique design style. And for the Ming and Qing Dynasty stone carving research to provide an examinable theoretical basis.
【學(xué)位授予單位】：太原理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：J525.1
[Abstract]:As a stone component of Yuci Changjia Manor building in the category of three carvings, the art of SanDiao of Shanxi merchants houses has unique regional characteristics and cultural connotations, with its exquisite engraving style, rich pattern content and unique cultural background. It plays an important role in the stone carving of Shanxi merchants and is an important part of Chinese stone carving art. Through the systematic analysis, research and demonstration of the decorative origin, artistic characteristics, decorative techniques, aesthetic implication and cultural connotation of the stone components of Changjia Manor, it is revealed that the beauty of the stone components of Changjia Manor lies not in the big but in the potential. It is the unity of content and form, material and spirit, function and aesthetics. Changjia manor stone components rich and diverse decorative themes, flexible patterns, the application of adequate decorative space, the entire architectural environment decoration beautiful. Among them, the most characteristic is the application of auspicious culture, in which plants, animals, characters, utensils and Chinese characters with auspicious connotations are used in decorative forms by means of ellipsis, deformation, modification, and so on, with "homophony". The literary technique of "obvious metaphor" embodies the thought of seeking good luck and blessing, and the decoration of stone components reaches the point of "having a plan and intending to be lucky". Not only that, its shape is rough and powerful, simple and heavy, its technique is smooth, dense, empty and solid, is a masterpiece of architectural decoration in the Qing Dynasty, but also as an independent art to appreciate. In the space layout, its layout is rigorous, the regulation is steep, the northern house and the southern garden perfect union, the bridge, the corridor, the hall, the platform and so on stone sculpture works and the architecture is integrated. No matter from scale, momentum, structure, layout, construction of French style and cultural connotation, "Confucian merchants" the physique is reflected incisively and vividly. The harmony of nature and man, and the creation of the natural style of learning from the law reflect the essence and spirit of Chinese Confucianism and Taoism. The decorative art of stone components of Changjia manor building is one of the forms of folk art, an important part of Chinese traditional culture, the crystallization of human wisdom which integrates ideology and value orientation, and the rational social precipitation. It reflects the remains of regional culture, and also contains Chinese traditional aesthetics, national consciousness and spiritual petition. At the same time, it is rooted in the traditional Chinese culture and Confucianism and Taoism, living in the deep living soil of workers, representing the national spirit of the Chinese nation. Changjia Manor left the world with a treasure house to study Chinese folklore culture. Its stone components, fine carving and exquisite modelling, not only leave valuable information for folk art, but also for its unique design style. And for the Ming and Qing Dynasty stone carving research to provide an examinable theoretical basis.
【學(xué)位授予單位】：太原理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：J525.1
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1 陳從周;;柱礎(chǔ)述要[J];考古通訊;1956年03期
2 陳仲z，
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