湘西苗族民间家具装饰图案研究
|
摘要
湘西苗族民间家具装饰图案作为苗族传统文化的重要组成部分,有其独特的文化内涵和审美价值。将民族装饰图案应用于现代设计中,为传统文化注入新鲜血液,正是当代设计艺术所渴求和需要的。本文从湘西苗族民间家具装饰图案形成的原因和背景环境入手,结合实地考察资料和相关的基础理论知识,对其装饰图案题材、装饰部位以及图案题材与装饰部位之间的关系进行了归纳分析,对典型性的装饰图案进行提炼并将其运用到现代设计中,使现代设计更具民族精神和地域文化内涵。
本文从农林畜牧和衣食住行等方面,解读了物质环境为家具装饰图案的形成提供基础保障和设计原型；从战争对立到顺应同化的历史过程,见证了政治经济条件为家具装饰图案提供发展方向；从历史迁徙和民族崇拜等方面,认识到历史文化和民族特色为装饰图案提供灵魂与生命。
采用文献法和实地考察法获得图案样本316幅。依据装饰题材的相似性,分为动物类、植物类、吉祥母题类、吉祥组合类、几何文字类、山水人物类、博古器皿类,并对其每类的风格特征、文化内涵进行归纳分析；依据装饰部位的统一性,分为椅背部、牙子部、腿足部、端头部、板面部、结子部,并对其每类的装饰手法、装饰特征、装饰图案构成形式进行归纳分析；采用对比分析法,分析了湘西苗族民间家具不同图案题材在不同家具部位的数量分布和使用频率情况,得出了家具装饰图案题材与部位之间的偏好关系；从社会文化特征和艺术特征两方面总结了湘西苗族民间家具装饰图案的特征。
最后,结合湘西苗族民间家具装饰图案的文化内涵与现代人的审美情趣,以及现代设计理念,提出了湘西苗族民间家具装饰图案的提炼原则,包括直接引用的原则、简化提炼的原则、抽象提炼的原则、夸张提炼的原则和分解与重组的提炼原则。以这些提炼原则为依据比照应用途径有的放矢地对水波纹、凤鸟纹、龙纹、卵形纹、蚩尤形象纹等典型性装饰图案进行提炼,在保留原图神韵与精华的基础上,得到一些时尚又不失传统的苗族家具装饰元素并进行设计实践。
As an important part of traditional Hmong culture, decorative patterns of Miao folk furniture have unique cultural connotation and aesthetic value. It is the aim of modern design to use these decorative patterns and to inject fresh blood to traditional culture. Base on background, combining fieldwork information and theoretical knowledge, the theme of decorative patterns, decorative parts, as well as the relationship between the pattern of themes and decorative parts were summarized, the typical decorative patterns were extracted, to apply to modern design, so that modern design has more national spirit and geographical cultural connotations.
The first part of the understanding of the Miao folk furniture, decorative patterns formed by the physical environment, political and economic conditions, history, culture and ethnic characteristics are a solid foundation for the study. From agriculture, forestry, animal husbandry and basic necessities, the interpretation of the physical environment to provide the basis for security and design a prototype for the formation of furniture, decorative patterns; witnessed the political and economic conditions to provide development direction for the furniture, decorative patterns from the war in opposition to conform to the historical process of assimilation; from history migration and ethnic worship, recognizing the history, culture and ethnic characteristics of the decorative patterns of the soul and life.
The second part of the literature and site visits of the pattern samples, and collected316samples of pattern classification and inductive analysis. Based on the similarity of the decorative themes, divided into animals, plants, auspicious motif class, lucky combination of class, landscapes, geometric text class, Bogut vessel class, and style characteristics of each type of cultural connotations of the inductive analysis; based on the decorative parts of the unity, into the back of a chair the Ministry the teeth Zibu, leg foot, side head, board face, Wai subpart and for each type of decorative techniques, decorative features, decorative patterns constitute a form of inductive analysis; comparative analysis, analysis of folk furniture in Western theme pattern in a number of different parts of furniture distribution and frequency of use of the situation, in order to identify the correspondence between the subject matter and location of furniture, decorative patterns and variation; from the socio-cultural and artistic characteristics of two summarizes the characteristics of Miao folk furniture, decorative patterns connotation.
The third part, combined with the cultural connotation of the Miao folk furniture, decorative patterns and the modern aesthetic taste, and modern design concept, comply with the principle of refined, including the direct refined, the simplifying refined, the abstract, the exaggerated refined and the principles of decomposition and reorganization refined. based on ways to apply targeted its typical decorative patterns, including the Phoenix Bird, Dragon, oval pattern, Chi-you pattern, and refining retain the original charm and essence of the foundation, get some fashion, yet the typical Miao furniture decorative elements.
本文从农林畜牧和衣食住行等方面,解读了物质环境为家具装饰图案的形成提供基础保障和设计原型；从战争对立到顺应同化的历史过程,见证了政治经济条件为家具装饰图案提供发展方向；从历史迁徙和民族崇拜等方面,认识到历史文化和民族特色为装饰图案提供灵魂与生命。
采用文献法和实地考察法获得图案样本316幅。依据装饰题材的相似性,分为动物类、植物类、吉祥母题类、吉祥组合类、几何文字类、山水人物类、博古器皿类,并对其每类的风格特征、文化内涵进行归纳分析；依据装饰部位的统一性,分为椅背部、牙子部、腿足部、端头部、板面部、结子部,并对其每类的装饰手法、装饰特征、装饰图案构成形式进行归纳分析；采用对比分析法,分析了湘西苗族民间家具不同图案题材在不同家具部位的数量分布和使用频率情况,得出了家具装饰图案题材与部位之间的偏好关系；从社会文化特征和艺术特征两方面总结了湘西苗族民间家具装饰图案的特征。
最后,结合湘西苗族民间家具装饰图案的文化内涵与现代人的审美情趣,以及现代设计理念,提出了湘西苗族民间家具装饰图案的提炼原则,包括直接引用的原则、简化提炼的原则、抽象提炼的原则、夸张提炼的原则和分解与重组的提炼原则。以这些提炼原则为依据比照应用途径有的放矢地对水波纹、凤鸟纹、龙纹、卵形纹、蚩尤形象纹等典型性装饰图案进行提炼,在保留原图神韵与精华的基础上,得到一些时尚又不失传统的苗族家具装饰元素并进行设计实践。
As an important part of traditional Hmong culture, decorative patterns of Miao folk furniture have unique cultural connotation and aesthetic value. It is the aim of modern design to use these decorative patterns and to inject fresh blood to traditional culture. Base on background, combining fieldwork information and theoretical knowledge, the theme of decorative patterns, decorative parts, as well as the relationship between the pattern of themes and decorative parts were summarized, the typical decorative patterns were extracted, to apply to modern design, so that modern design has more national spirit and geographical cultural connotations.
The first part of the understanding of the Miao folk furniture, decorative patterns formed by the physical environment, political and economic conditions, history, culture and ethnic characteristics are a solid foundation for the study. From agriculture, forestry, animal husbandry and basic necessities, the interpretation of the physical environment to provide the basis for security and design a prototype for the formation of furniture, decorative patterns; witnessed the political and economic conditions to provide development direction for the furniture, decorative patterns from the war in opposition to conform to the historical process of assimilation; from history migration and ethnic worship, recognizing the history, culture and ethnic characteristics of the decorative patterns of the soul and life.
The second part of the literature and site visits of the pattern samples, and collected316samples of pattern classification and inductive analysis. Based on the similarity of the decorative themes, divided into animals, plants, auspicious motif class, lucky combination of class, landscapes, geometric text class, Bogut vessel class, and style characteristics of each type of cultural connotations of the inductive analysis; based on the decorative parts of the unity, into the back of a chair the Ministry the teeth Zibu, leg foot, side head, board face, Wai subpart and for each type of decorative techniques, decorative features, decorative patterns constitute a form of inductive analysis; comparative analysis, analysis of folk furniture in Western theme pattern in a number of different parts of furniture distribution and frequency of use of the situation, in order to identify the correspondence between the subject matter and location of furniture, decorative patterns and variation; from the socio-cultural and artistic characteristics of two summarizes the characteristics of Miao folk furniture, decorative patterns connotation.
The third part, combined with the cultural connotation of the Miao folk furniture, decorative patterns and the modern aesthetic taste, and modern design concept, comply with the principle of refined, including the direct refined, the simplifying refined, the abstract, the exaggerated refined and the principles of decomposition and reorganization refined. based on ways to apply targeted its typical decorative patterns, including the Phoenix Bird, Dragon, oval pattern, Chi-you pattern, and refining retain the original charm and essence of the foundation, get some fashion, yet the typical Miao furniture decorative elements.
引文
[1]刘文金.对中国传统家具现代化研究的思考[J].郑州轻工业学院学报,2002,3：61-65.
[2]石启贵.湘西苗族实地调查报告[D].长沙：湖南人民出版社.1986.11-46.
[3]石建华,伍贤佑.湘西苗族百年实录[M].北京：方志出版社.2009.23-34.
[4]吴丹.土家族木制家具美学研究[D].湖南大学硕士毕业论文,2008.24-30.
[5]孙珺.民间传统家具的民俗文化分析[J].天津城市建设学院学报,2009,9：71-72.
[6]吕建华,刘文金.川西民间家具初探[J].家具与室内装饰,2010,4：63-64.
[7]娄军委.浙江传统家具研究[D].中南林业科技大学硕士毕业论文,2004.56-57.
[8]张重,山西民间家具的研究[D].北京林业大学硕士毕业论文,2005.50-56.
[9]刘源.山西民间传统家具文化意义的当代解读[J].广西民族学院学报(哲学社会科学版),2004,11：44-49.
[10]胡虹.巴渝传统家具研究[J].艺术理论,2007,4：63-64.
[11]冯怡.四川传统竹家具研究[D].西南交通大学硕士毕业论文,2008.44-47.
[12]陈丽琴.蒙古族传统家具装饰的研究[D].内蒙古农业大学硕士毕业论文,2007.66-67.
[13]张欣宏.蒙古族传统家具图案元素分析[J].家具,2006,1：149.
[14]鞠文俐.韩国的传统家具[J].装饰,2008,03：53-54.
[15]牟效萱.中韩传统家具的比较研究[D].南京林业大学硕士毕业论文,2005.23-34.
[16]袁哲.云南民族家具风格的研究[D].西南林学院.2002.45-48.
[17]李绵璐.民间家具[M].湖北美术出版社.2001.26-28.
[18]袁哲,叶喜.中国民族家具精选一云南白族家具[J].林产工业.2002,7：65-66.
[19]袁哲.云南民族家具风格的研究—白族家具、傣族家具、纳西族家具[D].西南林学院.2002.44-48.
[20]胡俊红.中国民俗家具与民族风情略论[J].家具与室内装饰.2007,12：22-23.
[21]徐雯.云纹的演绎与发展—中国传统装饰研究片断[J].装饰.2000,1：12-14.
[22]潘顺仙.徽州古民居家具雕刻与装饰研究[D].北京林业大学.2006.56-58.
[23]周燕玲.中国古典家具中的雕刻装饰研究[D].中南林学院.2006。36-38.
[24]唐晴晖.湘西苗族文化变迁研究[D].南京林业大学硕士毕业论文.2007.28-30.
[25]陈心传.五溪苗族古今生活集[M].2002.67-84.
[26]石启贵.湘西土著民族考察报告[M].2007.77-90.
[27]唐清晖.湘西苗族文化变迁研究[M].2005.24-56.
[28]朱晓萌.从苗族银饰的构成艺术探究其内在价值[D].天津工业大学硕士学位文.2007.23-34.
[29]田爱华.湘西苗族银饰艺术的审美研究[D].浙江师范大学硕士学位论文.2009.36-38.
[30]申卉茂.论苗族传统服饰图素的现代应用[D].中央民族大学博士学位论文.2005.33-40.
[31]龙叶先.苗族刺绣工艺传承的教育人类学研究---湘西凤凰苗族农村社区个案分析[D].中央民族大学硕士学位论文.2004.22-34.
[32]骆醒妹.浅谈湘西苗族吊脚楼审美[J].阿坝师范高等专科学校学报.2010,12：54-55.
[33]石娜.苗族装饰艺术在室内设计中的研究[D].南京林业大学硕士学位论文.2008.55-58.
[34]周亚辉.浅谈湘西苗族锉花艺术的审美特征[J].艺术理论.2010,12：73-74.
[35]钱穆.中国文化史导论[M].上海.上海三联书店,1988.67-68.
[36]曲六乙.漫话巫傩文化圈的分布与傩戏的生态环境[M].湖南师范大学出版社,1994.67-78.
[37]易红杏.湘西凤凰民居风格研究[J].文化纵横.2010,04：33-34.
[38]李哲柳等.湘西苗族民居平面形式的演变及原因研究[J].学术论文专刊.2001,5：54-55.
[39]姚佐英.湘西苗族生活器具研究[D].景德镇陶瓷学院硕士论文.2010.34-40.
[40]郑晶等.湖南民间家具的研究[D].中南林业科技大学硕士论文.2006.45-48.
[41]石娜.苗族装饰艺术在室内设计中的研究[D].南京林业大学硕士论文.2008.47-52.
[43]刘竟艳.苗族刺绣在现代纤维艺术中的运用研究[D].昆明理工大学硕士论文.2008.22-28.
[44]陈秋伟.湖湘家具木雕装饰图案研究[J].家具与室内装饰.2010,05：54-55.
[45]张秋梅.郑晶.蒋虹.湖南民间家具装饰特征研究[J].装饰.2007,01：75-76.
[46]宋生贵.传承与超越-当代民族艺术之路[M].北京：人民出版社,2007,08：58-64.
[47]刘文金,唐立华.当代家具设计理论研究[M].北京：中国林业出版社,2007.24-46.
[48]凌纯声,芮逸夫.湘西苗族调查报告[M].2001.11-54.
[49]段汝霖.楚南苗志湘西土司辑略[M].长沙：岳麓书社.2008.44-48.
[50]石建华,伍贤佑.湘西苗族百年实录[M].北京：方志出版社.2009.34-48.
[51]管彦波.中国西南民族社会生活史[M].哈尔滨：黑龙江人民出版社.2007.23-44.
[52]龙杰.湘西苗族建筑文化[M].西宁：青海人民出版社.2007.25-38.
[53]蒋绿荷.家具与民族文化之研究[J].家具与室内装饰,2002,6：16-19.
[54]陈素娥.诗性的湘西——湘西审美文化阐释[M].北京：民族出版社.2004.43-48.
[55]龙生庭.中国苗族民间制度文化[M].长沙：湖南人民出版社.2004.27-44.
[56]吴晓东.苗族图腾与神话[M].北京：社会科学文献出版社.2002.13-24.
[57]潘光华.中国苗族风情[M].贵阳：贵州民族出版社.1990.23-34.
[58]吴仁.苗族文化风情[M].北京：新华出版社.1992.25-36.
[59]沈从文.大山里的人生[M].长沙：湖南文艺出版社.1993.55-58.
[60]李砚祖.装饰之道[M].北京：中国人民大学出版社,1993.67-70.
[61]丹纳著,傅雷译.艺术哲学[M].北京：人民文学出版社.1963.36-46.
[62]行淑敏,陈楗敏.明式家具装饰纹样及其内涵浅析[J].家具与室内装饰,2004,1：21-24.
[63]林作新.中国传统家具现代化的研究.[D].北京：北京林业大学,2001.23-40.
[64]Ethnic Adoption And I dentity: the Keren or the Thai Frontier With Burma [M].A publication of the institnter for the study of Humau Issues. Philadelphla.2007.24-34.
[65]柳宗悦,徐艺乙.工艺文化[M].北京：中国轻工业出版社.1991.35-44.
[66]胡德生.传统家具与传统观念[J].家具,2002,5：38-42.
[67]柳宗悦,徐艺乙,孙建君.民艺论[M].南昌：江西美术出版社.2007.43-50.
[68]唐开军.现代中式家具发展态势探讨[J].家具与室内装饰,2005,7：11-15.
[69]王受之.世界现代设计史[M].北京：中国青年出版社,2002.23-40.
[70]王世襄.明式家具珍赏[M].北京：文物出版社,香港三联书店香港分店,1985.12-34.
[71]Chowlotte&Peter Fiell.Desing of the 20th Century Germany: taschen 1999.26-32.
[72]杨耀.明式家具研究(第二版)[M].中国建筑工业出版社,2002.56-78.
[73]Colin G.Drury.Antique Furniture reassessed. China today.2004,9:52-54.
[74]Sarah Handler.Austere Luminosity of Chinese Classical Furniture.California: University of California Press,2001.36-44.
[75]吕九芳,张彬渊.中国传统家具装饰图案的题材及时代特征的初步研究[J].家 具,1996,6：23-25.
[76]野口保市郎,陈湜.人文地理学概论[M].上海：商务印书馆.1935.55-60.
[77]Ethnic Adoption And I dentityahe Keren or the Thai Frontier With Burma[M].A Publication of the Institute for the Study of HumanIssues.2006.35-76.
[78]石启贵.湘西苗族实地调查报告[M].长沙：湖南人民出版社.1986.33-46.
[79]吕品田.中国民间美术观念[M].南京：江苏美术出版社.1992.55-64.
[80]黑格尔,王造时.历史哲学[M].北京：三联书店.1956.16-42.
[81]唐开军.家具装饰图案与风格[M].北京：中国建筑工业出版社,2004.33-50.
[82]沈嘉禄.寻找老家具[M].上海：上海书店出版社,2004,11：59.
[83]马涛.家具与室内设计中传统图案的应用[D],湖南：中南林业科技大学,2003.22-35.
[84]刘文金.重构中国家具当代文化[J].中南林学院学报,2003,23(3)：63-67.
[85]毕庆红.简析中国历代龙纹的造型特点[J].扬州职业大学学报.2000,04：97-98.
[86]贺国强,向龙,吴伟军.图案设计表现[M].长沙：湖南大学出版社.2005.23-50.
[2]石启贵.湘西苗族实地调查报告[D].长沙：湖南人民出版社.1986.11-46.
[3]石建华,伍贤佑.湘西苗族百年实录[M].北京：方志出版社.2009.23-34.
[4]吴丹.土家族木制家具美学研究[D].湖南大学硕士毕业论文,2008.24-30.
[5]孙珺.民间传统家具的民俗文化分析[J].天津城市建设学院学报,2009,9：71-72.
[6]吕建华,刘文金.川西民间家具初探[J].家具与室内装饰,2010,4：63-64.
[7]娄军委.浙江传统家具研究[D].中南林业科技大学硕士毕业论文,2004.56-57.
[8]张重,山西民间家具的研究[D].北京林业大学硕士毕业论文,2005.50-56.
[9]刘源.山西民间传统家具文化意义的当代解读[J].广西民族学院学报(哲学社会科学版),2004,11：44-49.
[10]胡虹.巴渝传统家具研究[J].艺术理论,2007,4：63-64.
[11]冯怡.四川传统竹家具研究[D].西南交通大学硕士毕业论文,2008.44-47.
[12]陈丽琴.蒙古族传统家具装饰的研究[D].内蒙古农业大学硕士毕业论文,2007.66-67.
[13]张欣宏.蒙古族传统家具图案元素分析[J].家具,2006,1：149.
[14]鞠文俐.韩国的传统家具[J].装饰,2008,03：53-54.
[15]牟效萱.中韩传统家具的比较研究[D].南京林业大学硕士毕业论文,2005.23-34.
[16]袁哲.云南民族家具风格的研究[D].西南林学院.2002.45-48.
[17]李绵璐.民间家具[M].湖北美术出版社.2001.26-28.
[18]袁哲,叶喜.中国民族家具精选一云南白族家具[J].林产工业.2002,7：65-66.
[19]袁哲.云南民族家具风格的研究—白族家具、傣族家具、纳西族家具[D].西南林学院.2002.44-48.
[20]胡俊红.中国民俗家具与民族风情略论[J].家具与室内装饰.2007,12：22-23.
[21]徐雯.云纹的演绎与发展—中国传统装饰研究片断[J].装饰.2000,1：12-14.
[22]潘顺仙.徽州古民居家具雕刻与装饰研究[D].北京林业大学.2006.56-58.
[23]周燕玲.中国古典家具中的雕刻装饰研究[D].中南林学院.2006。36-38.
[24]唐晴晖.湘西苗族文化变迁研究[D].南京林业大学硕士毕业论文.2007.28-30.
[25]陈心传.五溪苗族古今生活集[M].2002.67-84.
[26]石启贵.湘西土著民族考察报告[M].2007.77-90.
[27]唐清晖.湘西苗族文化变迁研究[M].2005.24-56.
[28]朱晓萌.从苗族银饰的构成艺术探究其内在价值[D].天津工业大学硕士学位文.2007.23-34.
[29]田爱华.湘西苗族银饰艺术的审美研究[D].浙江师范大学硕士学位论文.2009.36-38.
[30]申卉茂.论苗族传统服饰图素的现代应用[D].中央民族大学博士学位论文.2005.33-40.
[31]龙叶先.苗族刺绣工艺传承的教育人类学研究---湘西凤凰苗族农村社区个案分析[D].中央民族大学硕士学位论文.2004.22-34.
[32]骆醒妹.浅谈湘西苗族吊脚楼审美[J].阿坝师范高等专科学校学报.2010,12：54-55.
[33]石娜.苗族装饰艺术在室内设计中的研究[D].南京林业大学硕士学位论文.2008.55-58.
[34]周亚辉.浅谈湘西苗族锉花艺术的审美特征[J].艺术理论.2010,12：73-74.
[35]钱穆.中国文化史导论[M].上海.上海三联书店,1988.67-68.
[36]曲六乙.漫话巫傩文化圈的分布与傩戏的生态环境[M].湖南师范大学出版社,1994.67-78.
[37]易红杏.湘西凤凰民居风格研究[J].文化纵横.2010,04：33-34.
[38]李哲柳等.湘西苗族民居平面形式的演变及原因研究[J].学术论文专刊.2001,5：54-55.
[39]姚佐英.湘西苗族生活器具研究[D].景德镇陶瓷学院硕士论文.2010.34-40.
[40]郑晶等.湖南民间家具的研究[D].中南林业科技大学硕士论文.2006.45-48.
[41]石娜.苗族装饰艺术在室内设计中的研究[D].南京林业大学硕士论文.2008.47-52.
[43]刘竟艳.苗族刺绣在现代纤维艺术中的运用研究[D].昆明理工大学硕士论文.2008.22-28.
[44]陈秋伟.湖湘家具木雕装饰图案研究[J].家具与室内装饰.2010,05：54-55.
[45]张秋梅.郑晶.蒋虹.湖南民间家具装饰特征研究[J].装饰.2007,01：75-76.
[46]宋生贵.传承与超越-当代民族艺术之路[M].北京：人民出版社,2007,08：58-64.
[47]刘文金,唐立华.当代家具设计理论研究[M].北京：中国林业出版社,2007.24-46.
[48]凌纯声,芮逸夫.湘西苗族调查报告[M].2001.11-54.
[49]段汝霖.楚南苗志湘西土司辑略[M].长沙：岳麓书社.2008.44-48.
[50]石建华,伍贤佑.湘西苗族百年实录[M].北京：方志出版社.2009.34-48.
[51]管彦波.中国西南民族社会生活史[M].哈尔滨：黑龙江人民出版社.2007.23-44.
[52]龙杰.湘西苗族建筑文化[M].西宁：青海人民出版社.2007.25-38.
[53]蒋绿荷.家具与民族文化之研究[J].家具与室内装饰,2002,6：16-19.
[54]陈素娥.诗性的湘西——湘西审美文化阐释[M].北京：民族出版社.2004.43-48.
[55]龙生庭.中国苗族民间制度文化[M].长沙：湖南人民出版社.2004.27-44.
[56]吴晓东.苗族图腾与神话[M].北京：社会科学文献出版社.2002.13-24.
[57]潘光华.中国苗族风情[M].贵阳：贵州民族出版社.1990.23-34.
[58]吴仁.苗族文化风情[M].北京：新华出版社.1992.25-36.
[59]沈从文.大山里的人生[M].长沙：湖南文艺出版社.1993.55-58.
[60]李砚祖.装饰之道[M].北京：中国人民大学出版社,1993.67-70.
[61]丹纳著,傅雷译.艺术哲学[M].北京：人民文学出版社.1963.36-46.
[62]行淑敏,陈楗敏.明式家具装饰纹样及其内涵浅析[J].家具与室内装饰,2004,1：21-24.
[63]林作新.中国传统家具现代化的研究.[D].北京：北京林业大学,2001.23-40.
[64]Ethnic Adoption And I dentity: the Keren or the Thai Frontier With Burma [M].A publication of the institnter for the study of Humau Issues. Philadelphla.2007.24-34.
[65]柳宗悦,徐艺乙.工艺文化[M].北京：中国轻工业出版社.1991.35-44.
[66]胡德生.传统家具与传统观念[J].家具,2002,5：38-42.
[67]柳宗悦,徐艺乙,孙建君.民艺论[M].南昌：江西美术出版社.2007.43-50.
[68]唐开军.现代中式家具发展态势探讨[J].家具与室内装饰,2005,7：11-15.
[69]王受之.世界现代设计史[M].北京：中国青年出版社,2002.23-40.
[70]王世襄.明式家具珍赏[M].北京：文物出版社,香港三联书店香港分店,1985.12-34.
[71]Chowlotte&Peter Fiell.Desing of the 20th Century Germany: taschen 1999.26-32.
[72]杨耀.明式家具研究(第二版)[M].中国建筑工业出版社,2002.56-78.
[73]Colin G.Drury.Antique Furniture reassessed. China today.2004,9:52-54.
[74]Sarah Handler.Austere Luminosity of Chinese Classical Furniture.California: University of California Press,2001.36-44.
[75]吕九芳,张彬渊.中国传统家具装饰图案的题材及时代特征的初步研究[J].家 具,1996,6：23-25.
[76]野口保市郎,陈湜.人文地理学概论[M].上海：商务印书馆.1935.55-60.
[77]Ethnic Adoption And I dentityahe Keren or the Thai Frontier With Burma[M].A Publication of the Institute for the Study of HumanIssues.2006.35-76.
[78]石启贵.湘西苗族实地调查报告[M].长沙：湖南人民出版社.1986.33-46.
[79]吕品田.中国民间美术观念[M].南京：江苏美术出版社.1992.55-64.
[80]黑格尔,王造时.历史哲学[M].北京：三联书店.1956.16-42.
[81]唐开军.家具装饰图案与风格[M].北京：中国建筑工业出版社,2004.33-50.
[82]沈嘉禄.寻找老家具[M].上海：上海书店出版社,2004,11：59.
[83]马涛.家具与室内设计中传统图案的应用[D],湖南：中南林业科技大学,2003.22-35.
[84]刘文金.重构中国家具当代文化[J].中南林学院学报,2003,23(3)：63-67.
[85]毕庆红.简析中国历代龙纹的造型特点[J].扬州职业大学学报.2000,04：97-98.
[86]贺国强,向龙,吴伟军.图案设计表现[M].长沙：湖南大学出版社.2005.23-50.