【作者】 张平；

【导师】 华人德；

【作者基本信息】 苏州大学 ， 设计艺术学， 2009， 博士

【摘要】 装裱体现时代的审美观念,是整个艺术链条中不可缺少的一环。在漫长的艺术活动中,书画的创作只是其中的一个环节,其后需要装裱的再加工与再创造,其后才有艺术作品的鉴赏与收藏,才能更好地传播、交易。装裱是承上启下的一环,必不可少。装裱从属依附于艺术创作的观念根深蒂固,在目前新的文化生态逐渐生成的情况下已不合时宜。我们需要把装裱因素更加自觉地纳入到艺术活动中来,发挥主动的影响,不论是创作,还是收藏、鉴赏、书画活动乃至艺术市场不能离开艺术品的装饰装裱而单独存在。装裱是介于艺术设计的工艺性与纯书画实践的交汇领域,目前的研究成果尚显薄弱,值得深入开掘,本人研究作了初步的尝试,但在写作过程中感觉到种种问题乃至困境的存在。比如时代样式的判定上,目前有不少问题无法解决,需要考古材料、出土文物的进一步验证与支撑。本研究课题内容繁富,涉及广泛,不可能面面俱到,挂一漏万在所难免,本文各章主要观点为:(一)装裱材质与书画所用材质的共通性与逐渐分流,材质的精湛加工是装裱发展提高的基础与前提。装裱形制与人们的起居方式、建筑高度、艺术需要相关,其形成定型为渐进的过程。一种事物的发生与盛行,受到技术、社会、人文的诸多因素制约。书画不仅是图像文字形象,还以卷轴、屏风、壁画等物质性的形式展示出来,需要考虑它们和人、建筑的各种关系。(二)装裱集中反映了古人的艺术与审美观念,传达了时代的审美理想。人们的生活起居方式、陈设方式,建筑格局,不同阶层的审美观,所用材料的生产情况等等都会影响到一个时代的装裱样式。(三)装裱具有地域性的特点。这是装裱工艺普及化、书画创作量收藏量诸多因素增长的结果。一种工艺样式流派的形成,需要种种主客观的条件,对装裱来说,古代交通不便,所用的材料须易于取得,必须考虑气候、地理的因素,这是样式形成的客观条件。另一方面是艺术的创作量、交流量、与之接触的群体量都空前增大的情况下才会出现鲜明的地域特色。装裱的地域性对应的是装裱的民间性、艺术品收藏鉴赏的民间性。(四)装裱的幅式与规格影响书画的样式,决定了总的阅读方式。款式对观者欣赏花新的角度、顺序、距离乃至接受信息的强度都会施加一定的影响。有什么样的画心形状就会产生相应的装裱款式。但装裱款式一旦建立起来,必然对画心幅式产生一定的制约作用。观众的书画阅读方式便在装裱的基础上逐步建立起来并延展成为稳定的欣赏习惯。(五)艺术过程包括了创作、装裱、交易、传播、收藏、鉴赏等因素在内的一整套机制,装裱是其中重要的一环,是整个艺术活动中最需要设计思维与操作技巧的环节。装裱虽附属于作品配合美化之,但也是书画成为商品交易、收藏、展览的前提,自不应忽视其能动的品质属性。就艺术创作来说,应视装裱为有机的不可分割的一部分。(六)传统与当代装裱在建筑空间环境设计中有着广泛的应用前景。装裱因素是书画作为装饰媒介、环境艺术设计重要组成部分,必须对书画的装裱因素与建筑样式的协调统一加以关注,唯如此,才能使艺术品保持长久生命力,书画创作与艺术市场才会在健康的轨道上运行。(七)装裱样式影响到当代展览模式,继而影响到新的创作观审美观的确立。当前诸多展览过于追求功利化,忽视、轻视装裱工艺,已经严重影响了审美欣赏的品质。现代书画装裱具有多样化的特点,更强调个性,并具有装裱与创作融合的发展趋势。一方面是画心部分对外的扩张,装裱部位主动容纳画心样式的渗透。另一方面装裱被纳入创作的考虑因素,作为形式构成的重要组成部分,更加注重装裱与本幅乃至于环境的一体化。更多还原

【Abstract】 Mounting reveals the aesthetic notions of an era. It is an indispensable ring in the long chain of the art history. And it is only through mounting that a sheet of painting and calligraphy can be stored, appreciated and traded. In the past, however, people stubbornly treated mounting as a kind of appendants that just attached to the main part of the paining and calligraphy. Such an idea is out-dated nowadays and it is quite necessarily for us to treat it as an indispensable part of the whole process in art creativity, storage and appreciation, which cannot be omitted, just as the background cannot be omitted from a photo.Mounting lies in the interface between crafts and pure arts. At present, the study of it is rare and it is worthwhile to make a deeper exploration. This thesis just tries best to make a partial contribution to it, because there are many difficulties that cannot be removed at present, like judging the mounting styles representing different ages, which needs the evidence from archaeological findings. The viewpoints of each chapter in this thesis are listed below:In Chapter One, the author shows the sameness and the divergence of the materials used for mounting, as well as painting and calligraphy. The high quality of the material is the base for the development of mounting. The finalization of the mounting forms that are relevant to people’s living styles, the height of the buildings and the art itself, is a gradual process. It is restricted by many factors, such as techniques, cultures, politics, economics, ideologies, etc. Painting and calligraphy is not just a thing of abstract characters and pictures, but a concrete one that consists of reels, folding screens and even walls (fresco). It manifests kinds of relationship among people, buildings and itself.In Chapter Two, the author discusses the notions and ideals of the ancient people. The mounting styles were influenced by their living styles, ways of furniture disposition, building structures, and their aesthetic notions from different layers of the society.In Chapter Three, the author manifests the local characteristics of mounting. It is the result of the popularization of mounting techniques, and the great increase of the products of painting and calligraphy. Any style of craft’s formation may established by internal factors and external factors. As for mounting in the old age, the materials should be easily obtained because of traffic inconvenience, together with the climate and geographical factors, which mainly consist of the external ones. And the internal factors lie in the amount of the products themselves, their exchanging and the communicating groups.In Chapter Four, the author explores the breadth and other specifications of mounting, because it decides people’s reading manner. The pattern may have some influence in perspectives, orders, distances and intensities when people appreciating and acquiring the information. The mounting pattern may correspond to shape of the picture. However, once the pattern is established, it may restrict the picture shape. People’s reading manner is usually based on the mounting style and then develops into a habit.In Chapter Five, the author studies the veins of mounting materials. They form an important factor that is necessary for local characteristics to develop and formation at a certain age. They may be successive ones, but may also be innovative ones as a result of new materials and new techniques coming into being. At the same time, the veins of mounting materials may be similar to other daily utensils, although they are sometimes so special to be used in mounting. The designs and veins of fabrics used for mounting may be worthy of being appreciated, in which process, people’s feelings and emotions may reside.In Chapter Six, the author proposes that the interaction between mounters and painters is the main impetus for the development of mounting skills. The ancient mounters were more passive. In order for survival, they mounted paintings as ordered by their employers, usually the painters, who were more dominant in their interactions. Mounters, then, would repeatedly modify the designs according to their employers’ ideas in order to meet their requirements.In Chapter Seven, the author indicates that in the whole process of art creation, from creation to mounting, trading, storage and appreciation, mounting is an indispensable section. It combines designing and artifice, based on which painting and calligraphy can be traded, stored and appreciated. Therefore, it is not right to regard it just an appendant, and as for the whole process of art creation, it is an integral part.In Chapter Eight, the author emphasizes that the prospects of mounting, whether the ancient or the modem one, are very extensive in architectural and environmental designs and advocates that, nowadays more attention need to be paid to the harmony between mounting factors for the painting and calligraphy, and factors for the architectural styles. Only so, the life of the art can last forever and the art market can be shifted into a healthy orbit.In Chapter Nine, the author considers that mounting styles will have some influence on the exhibition modes of the present age, and if not treated properly, they may hinder the establishment of the new aesthetic notions. At present, many exhibitions are in pursuit of material gains, ignoring and despising mounting technics, and thus decreasing the aesthetic quality of them.In the last chapter, the author suggests that since modern mounting has developed to be much diversified and individualized, a new trend can be expected for the combination of modern mounting and creation. That is, on the one hand, the picture part may expand to the mounting edge and mounting part will accept such invasion supportively. On the other hand, mounting, as the most important formal "component", will be brought into the whole creation process and incorporated with painting and calligraphy itself, and further with the surroundings.更多还原