【作者】 刘小路；

【导师】 张夫也；

【作者基本信息】 西南交通大学 ， 工业设计， 2013， 博士

【摘要】 成都是中国历史上最重要的漆器产地之一。自商周时期,成都地区的漆器制作工艺就已经形成,经春秋战国的发展与积淀渐趋成熟,至两汉时期达到鼎盛,成为全国漆器生产中心。自20世纪20年代以来成都漆器在各地的频繁出土,逐渐引起了国内外学者对其学术价值的关注。从其历史发展与器物遗存的状况看,成都漆器不仅在中国漆器史上具有重要地位,而且其独特的审美价值与造物思想已经超越了工艺美术与器物文化的层面,延伸到了设计艺术的领域。本文以成都漆器艺术为研究对象,拟在考古学及历史学已有研究成果基础上,以设计学的视角为切入点,旨在探寻其造型与装饰设计的独特语言,并发掘其内在的审美价值与设计思想。通过文献研究、图像分析、图表演示及综合分析等多种研究方法的综合运用,本文对成都漆器艺术展开了三个层面的研究：1.器物层面,即从形(器形)、饰(纹饰)、色(色彩)三个方面来发掘成都漆器独有的审美特质与独特匠心。2.文化层面,即由表及里地探寻器物之中所承载的历史信息与文化内涵,厘清现有的一些认识上的争议或误区,明确成都漆器的文化特性与历史价值。3.观念层面,即对成都漆器所体现的造物智慧与设计思想及其对现代设计的积极意义进行深入探析与理性思考。通过对成都漆器艺术历史发展与审美表现的总体梳理与诠释,并结合上述三个层面的逐层探析与全面展开,本文最终形成了如下三点认识：第一,多元的文化观。在成都漆器的发展历程中,始终伴随着多元文化因素及观念意识的汇入、交融与重组,因此通过器物所传达出的文化观念,既表现为多元交融的复合性(观念、文化与工艺),又呈现出对后世影响的多种指向(器物、技艺与思想)。本文认为,正是文化观念的多源性与多向性,决定了成都漆器多元复合的文化特质及其在中国工艺文化史与中国漆文化发展史上的重要地位与价值。第二,整一的审美观。在成都漆器内质与外文的关系中,形成了融自然之美、器物之美、制度之美为一体的审美观。在此审美观念的影响下,成都漆器呈现出功能与审美的平衡、纹饰与器物的契合、纹饰内在的有机统一、造型与装饰风格的趋同四个方面的审美特质。第三,朴素的设计观。在成都漆器内在的自然-器-人(社会)的有机系统中,器物作为自然、人及社会之间关系的纽带,一方面处于自然之道的束缚,另一方面又受到社会之法的制约。然而,在造物过程中,蜀地漆工却并未因受制于天道与理法而表现出被动与无为,而是在遵从与顺应的过程中,逐渐形成了一套独特的造物哲学。本文认为,从设计的角度来考量成都漆器的造物思想与思维方式,其核心价值在于对“良器”的追求及由此所体现出的朴素的设计观,而这也正是本文对成都漆器设计研究的最终指向。更多还原

【Abstract】 Chengdu was one of the most important lacquer ware producing areas in ancient China. Since the Shang and Zhou Dynasties, the lacquer ware craftsmanship had been formed in Chengdu and gradually grown up in the Spring and Autumn and Warring States Period. In the Han Dynasty, its lacquer crafts achieved prosperity and Chengdu became the lacquer ware production center in China. Since the1920s, Chengdu lacquer gradually aroused the attention of scholars both domestic and overseas because of its frequent unearthing. From its historical development and inherited condition, Chengdu lacquer not only held an important position in China’s lacquer history, its unique aesthetic value and creation thought also had transcended the craft and material culture level, extending to the field of artistic design.Based on the existing research results in archaeology and history, the paper took Chengdu lacquer art as research object, from the perspective of artistic design, aimed to explore its styling features and decorative language and to explore its intrinsic aesthetic value and design ideas.From the synthetically application of literature research, image analysis, graph demonstration and comprehensive analysis, the paper studied on Chengdu lacquer art from three levels:First, the external level, which was to explore the unique aesthetic characteristics and originality from the lacquer’s shape, patterns and color. Secondly, the inner level, which was to seek the historical information and culture connotation of Chengdu lacquer, to clarify some existing cognitional dispute and finally to confirm its culture value and historical position. Thirdly, the extension level, which was to study deeply on the aesthetic and design concept of Chengdu lacquer and its positive influence to modern design, to provide useful idea source for modern design.Through general carding and interpretation on the historical development and aesthetic expression of Chengdu lacquer, after the analysis step by step on the three levels mentioned above, three conclusions had been finally formed in this paper:Firstly, the multiple culture conceptions. In the development of Chengdu lacquer, it was always accompanied with the import, blend and reorganization of the multicultural factors and the concept of consciousness, therefore the culture concepts conveying by the artifacts showed both the compositionality of multiple mingling (concept, culture and crafts) and its multiple influence (artifacts, skills and thought). This paper holds that it is the cultural concept of multi-sources and multi-directional of Chengdu lacquer, determines its multiple composite cultural characteristics, as well its important position and value in Chinese craft cultural history and Chinese lacquer and cultural history.Secondly, the integral view of aesthetics. The integrated aesthetic concept of natural beauty, artifact beauty and system beauty was formed in the relationship between the intension and extension of Chengdu lacquer. Under the influence of this aesthetic ideas, Chengdu lacquer showed four aesthetic characteristics, that is the balance of function and aesthetic, the fitness of ornament and lacquer ware, the inner organic unity of patterns, and the convergence of form and decorative style.Thirdly, the simple design philosophy. In the organic system of Chendu lacquer which composed of nature, artifact and man (social), lacquer ware as the link among nature, man and society, was constrained by the law of both the nature and the society. However, the lacquer craftsmen in Chengdu didn’t show passive or inactivity in modeling process, and a set of unique design philosophy of Chengdu lacquer was formed in the compliance with the adjustment process. This paper holds that, from the standpoint of design to consider the ideas of creation and the way of thinking expressed by Chendu lacquer, its core value lies in the pursuit of "good artifact" and the simple design philosophy reflected, and that is the final point of this study on Chengdu lacquer.更多还原