【作者】 张昕；

【导师】 常青； 曹昌智；

【作者基本信息】 同济大学 ， 建筑历史与理论， 2007， 博士

【摘要】 山西风土建筑彩画蕴涵有丰厚的文化价值、社会价值与经济价值，是全球化和城市化进程中亟待保护的文化遗产。本文理论联系实际，以山西典型的一绿细画、五彩画和金青画为对象，通过田野调查结合文献资料的方法，从风土彩画本身、风土彩画与官式彩画的联系，以及风土彩画的技术特点三方面入手，对山西风土建筑彩画进行了系统的整理与分析。 一绿细画和五彩画作为主要用于寺院和祠堂的彩画形式，与不同历史时期的官式彩画关系密切。对其渊源及演化加以探讨，亦可从侧面反映出官式彩画由宋至清的传承。金青画作为一种主要用于商宅的彩画形式，在类型、等级和质量上均超过了同期寺院和祠堂的彩画，反映出清末晋商在特定环境下的心理特征及其对地方匠帮工艺水平的促进。 全文共分七章，其中第一、二、三、四章建立在口述史料与实地考察等一手材料的基础上，由整体到局部，从构图、色彩、纹样等方面分别对晋北地区的五彩画，以及晋中地区的一绿细画和金青画进行了详细而客观的分析。其中第一章为概述，第二章为晋北上五彩，第四章为晋中金青画。因为晋北下五彩与晋中一绿细画关系密切，且主要施于寺院，所以本文将二者合并，归入第三章。 第五章结合史料对山西风土彩画进行了整体性的分析解读，包括不同的影响因素、历史渊源、突出特征和技法发展等。此外，还引入了风土彩画与宋、清官式彩画之间的对比，特定构图与纹样对彩画发展的作用，以及僧人与商人的主体作用等。 第六、七章以匠师访谈为主干，结合历代文献，从原料、工具、工序、技艺等方面初步理清了晋系油作、彩画作的技术特征，及其与宋、清官式做法的交流与传承关系。更多还原

【Abstract】 The vernacular colored drawings on traditional buildings in Shanxi Province are of great value culturally, socially and economically, and are precious cultural heritages in need of conservation in the process of globalization and urbanization. Integrating theory with practice and through fieldwork as well as the study of available literature, this thesis, based on three typical kinds of Shanxi vernacular colored drawings, namely, the Green & Detailed Drawing, the Full Colored Drawing, and the Gold & Blue Drawing, systematically investigated the colored drawings themselves, the relationship between vernacular and official colored drawings, and the technical features of the vernacular colored drawings.The Green & Detailed Drawing and the Full Colored Drawing, which were mainly used in temples and ancestral halls, were closely related to official colored drawings in different historic periods, therefore, the study on their origin and development are also connected with the evolution of the official colored drawings from the Song Dynasty to the Qing Dynasty. The Gold & Blue Drawing, which was mainly used in rich merchants’ houses, overran colored drawings on temples and ancestral halls at that time both in grade and quality. This clearly shows the psychological feelings of the Shanxi merchants in the specific environment of the late Qing Dynasty, and it in turn helped to improve the local craftsmen’s techniques.The full text was divided into seven chapters. Based on such firsthand information as oral history and field investigation, the chapters from 1 to 4 were devoted to a detailed and objective investigation of the Full Colored Drawing in North Shanxi, and the Green & Detailed Drawing and the Gold & Blue Drawing in Middle Shanxi either generally or specifically, especially in terms of their compositions, colors and patterns. Chapter I was a general description, Chapter II concerned the Upper Full Colored Drawing in North Shanxi, while Chapter IV concerned the Gold & Blue Drawing in Middle Shanxi. Because the Lower Full Colored Drawing in North Shanxi had a close relationship with the Green & Detailed Drawing in Middle Shanxi, and both were mainly used in temples, they were combined to form Chapter III.Incorporating different literature, Chapter V served as an analysis and explanation part of different Shanxi vernacular colored drawings in their entirety, including their various influencing factors, historic origins, remarkable features and technical developments. In addition, also introduced in this chapter were the comparison between Shanxi vernacular colored drawings and official colored drawings of the Song and Qing Dynasties, the role that specific composition and pattern played in the development of colored drawings, as well as the contributions that the Buddhist monks and merchants made.Based mainly on interviews with local craftsmen and also on literature through the ages, Chapters VI and VII gave a basic account of the technical characteristics of the vernacular Chinese Wood Oil Work and Colored Drawing Work of Shanxi Province from such aspects as materials, tools, working procedures and skills. Presented in those two chapters were also their exchange with and inheritance of relevant official practice of the Song and Qing Dynasties.更多还原