宋辽夏金装饰纹样研究

发布时间：2018-03-19 09:25

本文选题：宋辽夏金　切入点：游牧民族　出处：《苏州大学》2011年博士论文　论文类型：学位论文

【摘要】：宋辽夏金时期堪称新形势下的南北朝,是中国历史上又一次具有较大深度和广度的多民族文化艺术大融合时期。契丹、党项、女真所代表的辽夏金是与宋在政治、军事、经济等方面长期抗衡、对峙的少数民族政权。在民族大融合的旋涡中,在农耕文化与游牧文化激荡的声浪中,艺术不断交融与创新,孕育并铸就了中国装饰纹样艺术的又一次辉煌。宋代装饰纹样是时代的主流。由于工艺技术的提高,促进了工艺美术品的繁盛发展,有益于装饰纹样的发展,使装饰纹样的应用面和题材比以往更宽广,传承并超越了唐代装饰纹样。宋代是个文化高度发达的朝代,整个社会文化程度得到提高,市民的审美欣赏能力普遍较高。装饰纹样一方面体现了文人士大夫所主导的文人审美情趣,突出儒雅性,另一方面也迎合了普通的市民阶层生活审美的需要,反映了当时的市民生活情趣和社会风俗,表现世俗性。纹样雅中有俗,俗中有雅,形成雅俗共赏的装饰纹样艺术面貌。游牧文明和农耕文明的深度融合是辽、夏、金装饰纹样的形成基础。辽、夏、金民族作为游牧民族,在装饰纹样上体现了北方民族雄迈豪爽的精神风貌和淳朴的审美观点。辽、夏、金装饰纹样与宋的装饰纹样并存发展,其装饰纹样艺术都经历了模仿汉族文化,把汉族文化与本民族文化逐渐有机融合,加上外来文化的遗韵,最终形成独具特色的装饰纹样的过程。辽、西夏、金装饰纹样与主流汉族装饰纹样在交流互补中竞相发展,构成了统一的中国装饰纹样的多维有机整体,其特有的民族纹样特征丰富了主流纹样的内在气质,促进了民族纹样艺术的双向交流与融合,在装饰纹样领域得到了共同繁荣迅速发展。宋、辽、夏、金在装饰艺术上都出现了新的纹样,一直到元朝统一中国,最终游牧农业合二为一,构成了中华民族多元一体的装饰纹样面貌。一直以来,辽、西夏、金时期的装饰纹样在中国纹样史上就如沧海一粟,不为重视。尽管分别建立这三个朝代的契丹、党项族、女真族在历经民族文化的融合,接纳和吸收中原文化之后生成了许多具有开创性的装饰纹样却也因不被视为正统而被淹没。本文尝试重现这一段在中国纹样史上相当重要,却为我们长期所忽略的篇章。总的来说,宋辽夏金时期是我国装饰纹样发展的集大成时期,起到了承前启后、继往开来的作用,对元明清装饰纹样的发展有巨大的影响,在装饰纹样发展史上具有重要的历史地位。宋辽夏金时期我国装饰纹样的整体发展趋势由古典趋向于世俗,从宫廷拓展到市场,从而奠定了中国装饰纹样发展的格局。
[Abstract]:The Song, Liao, Xia and Jin dynasties can be called the Southern and Northern dynasties under the new situation. It is another time in Chinese history which has a great depth and breadth of multi-national cultural and artistic integration. Qidan, Dangxiang, Nu Zhen represents the Liao Xia and Jin dynasties in politics and military affairs with the Song Dynasty. In the vortex of national integration, in the sound of the agitation of farming culture and nomadic culture, art is constantly blending and innovating. Nurtured and cast the Chinese decorative pattern art another brilliant. The decorative pattern of Song Dynasty is the mainstream of the times. Because of the improvement of technology and technology, it promotes the flourishing development of arts and crafts, is beneficial to the development of decorative pattern, and makes the application and subject matter of decorative pattern wider than ever before. Inheriting and surpassing the decorative patterns of the Tang Dynasty. The Song Dynasty is a highly developed dynasty with a highly developed culture, and the whole social and cultural level has been improved. The decorative patterns, on the one hand, reflect the literati aesthetic tastes dominated by literati and officials, and highlight the elegance, on the other hand, they cater to the aesthetic needs of the ordinary citizens. Reflecting the life interests and social customs of the people at that time, expressing the secular nature. There are vulgar patterns in the patterns of elegance and elegance in the common customs, forming a decorative art appearance of common appreciation. The deep fusion of nomadic civilization and agricultural civilization is the Liao, Xia, and Xia dynasties. As a nomadic nation, the Liao, Xia and Jin nationalities, as nomadic people, embody the spiritual style and simple aesthetic viewpoint of the northern nationalities, such as Xiong Mai, style and style and simplicity, etc. The decorative patterns of Liao, Xia and Jin coexist with the decorative patterns of Song Dynasty. The decorative pattern art has experienced the process of imitating Han nationality culture, gradually merging Han nationality culture with native culture, and adding the rhyme of foreign culture to form unique decorative pattern. The gold decorative pattern and the mainstream Han decorative pattern develop with each other in exchange and complement each other, forming a unified multi-dimensional organic whole of Chinese decorative pattern, and its unique national pattern features enrich the internal temperament of the mainstream pattern. It promoted the two-way communication and integration of the national pattern art, and got a common prosperity and rapid development in the decorative pattern field. New patterns appeared in the decorative arts of Song, Liao, Xia and Jin until the Yuan Dynasty, when China was unified. Finally, nomadic agriculture merged into one, which constituted the decorative appearance of the Chinese nation. All along, the decorative patterns of Liao, Xixia, and Jin dynasties are just like a drop in the ocean in the history of Chinese patterns. Although the three dynasties of Qidan, Dangxiang and Faizhen were established separately, they experienced the fusion of national culture. After accepting and absorbing the culture of the Central Plains, many pioneering decorative patterns have been created, but have also been submerged because they are not regarded as orthodox. This article attempts to recreate this section in the history of Chinese patterns. In general, the Song, Liao, Xia and Jin dynasties were the period of the development of decorative patterns in China, which played a role of connecting the past with the future, and had a great impact on the development of decorative patterns in the Yuan, Ming and Qing dynasties. The overall development trend of decorative patterns in China in Song Liao Xia and Jin dynasties from classical to secular from the palace to the market thus laid the pattern of the development of decorative patterns in China.
【学位授予单位】：苏州大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：K875

【引证文献】