【作者】 张晓霞；

【导师】 张朋川；

【作者基本信息】 苏州大学 ， 设计艺术学， 2005， 博士

【摘要】 本论文以“中国古代植物装饰纹样研究”为题，探索和研究中国古代植物装饰纹样的发展状况，以及相关的文化内涵、造型特征等。意在弘扬民族文化。 第一章为概述，简论人与植物之间亲密与和谐的关系。 第二章论述滥觞期(远古至汉代)植物纹样。本时期植物纹样处于发生和发展阶段，是植物原生态向其艺术形态的转变阶段。 滥觞期典型纹样为太阳神花和太阳神树。这些花瓣纹、树纹和枝叶状纹饰，除了在形象上与植物有一定的象形关系外，还有神秘的原始宗教含义，因而史前植物纹样表面看是装饰，实质是在表达思想。 第三章论述转型期(魏晋南北朝)植物纹样。本时期多种外来文化源源输入。外来文化带来了新风，也与中国本土艺术在交融中时有碰撞。本时期重点分析的典型纹样有莲纹和忍冬纹。中国是莲荷的故乡。莲荷自春秋始就被用作装饰纹样，其象征天穹的意义十分明显。它与佛教莲纹的内涵有共通之处，而后者在形式上有许多新创。忍冬纹的综合性不仅存在于它的起源上，还体现在它的形象上。在魏晋南北朝时期，外来纹样的作用和影响是明显的。 第四章论述发展期(隋、唐)的植物纹样。大唐盛世，域外文化与本土文化、周边文化与中原文化、宗教文化与世俗文化、贵族文化与士庶文化并存互容，多元化和兼容性浸漫着文化艺术的方方面面。 本章第二节分析了隋唐植物纹样的具体特征和典型纹样。 第五章论述兴盛期(五代、宋、元)植物纹样。本时期士大夫文化的兴起，使纹样凸显儒雅精神，纹样理性化、诗意化，显得格外精致清新；平民文化的渐进，又使高雅纹样平民化、宗教纹样通俗化，主题形象皆富生活情趣。花鸟画的兴盛则增强了纹样的绘画性和写实性。 本时期中国植物纹样类型齐全，风格多样，构成形式基本定型，是宋元植物纹样已臻成熟的重要标志。 第六章论述普及期(明、清)的植物纹样。本时期植物纹样面临各种新变化。一是文化性质的变化；二是价值取向的变化；三是纹样类型的变化。 吉祥纹样可说是本时期典型纹样。吉祥，人生的祈愿，在各历史阶段呈现出不同的情结。它是永远的大众艺术。更多还原

【Abstract】 This thesis takes as its topic, research into plant motifs in pre-modern Chinese decoration.It investigates and discusses the development of plant based decorative motifs in pre-modern China, as well as related characteristics of their manufacture, humanistic factors, etc. The work hopes to help preserve and promote folk culture and "let the past serve the present".The first chapter provides an overview, and a general discussion of the intimate and harmonious connection between people and plants.The second chapter discusses plant motifs in the Springwell Period (pre-imperial to Han dynasty). In this period, plant motifs were in the stage of initial invention and development. The plants that people observed in the natural world were in their pristine state. The conversion of plant from their unadulterated state to an artistic form is a cultural phenomena whereby an object’s concept is incised and its connotations enriched. It is also a process whereby the aesthetic appreciation of form, and the aesthetic evaluation of shape, are deepened.The classic motifs during the Sprigngwell Period were the Sun God flower and Sun God tree. In addition to having a definite relationship to plants in terms of their form, these types of flower petal, tree pattern and leaf shaped decorative motifs had a mystical significance within primitive religion. Thus, although pre-historic plant motifs appear as decoration, their essence lies in expressing ideas.Chapter Three discusses plant motifs in the Transformative Period (Wei, Jin, and North-South Dynasties). In this period foreign cultural influences flowed incessantly into China. Exotic cultures brought new artistic styles; they also had an impact on indigenous Chinese culture during this period of fusion. The classic motifs from this period that are chiefly examined are the lotus motif and the honeysuckle motif. China is the home the lotus plant, and the lotus flower had been used as a decorative motif since the Spring Autumn period. Its significance as symbolizing the vault of Heaven is very clear. It also shares many connotations with the Buddhist lotus flower symbol, however the latter is innovative in many ways in terms of its form. The accumulative process which led to the honeysuckle motif lies not only in its origins, but is also apparent in its form. During the Wei, Jin and North-South Dynasties, the role and influence of foreign motifs is obvious.Chapter Four discusses plant motifs in the Developmental Period (Sui and Tang dynasties). During the golden years of the Tang dynasty, there were many cross-currents between foreign and indigenous cultures, between the cultures of the central plains and of peripheral areas, between religious更多还原