基于古木造建筑十字榫卯结构重构当代艺术首饰作品
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摘要
本文从古木造榫卯结构中的十字榫卯结构着手,用金属材料模仿这种技艺结构,通过探索多元文化交流碰撞下的个人文化身份状态观念,结合设计方法与艺术观念,创作艺术首饰作品,重新诠释传统技艺与视觉文化。此研究成果尝试跨越人类文化学与艺术学交叉学科,对艺术设计实践具有一定借鉴意义。通过理论研究、田野调研和实践等相关方法,深入挖掘传统古木造榫卯结构中的十字榫卯结构特点,创作出两个不同系列首饰作品,进一步探索如何让传统技艺结合生活感悟中的事物特点,运用艺术思想与设计方法,让传统技艺再次融入当代人们生活。
Based on a cross joint structure of wooden frame joints in Chinese traditional architecture, this paper aims to imitate this structure by using metals and explore a concept of cultural identity through interactions of different cultures; to integrate design methodologies with artistic ideas in order to re-interpret traditional techniques and visual culture. This research has been involved an interdisciplinary experiment between the field of anthropology and fine art, which has been broadened the field research of art and design. Through theoretical research, field research, practice and other related methods, two series of art jewelry have been created by exploring cross joint structures, which has further investigated how to combine traditional techniques with characteristics of object of life journey. The two series have also brought traditional techniques into contemporary life by applying artistic thoughts and design methodologies.
Based on a cross joint structure of wooden frame joints in Chinese traditional architecture, this paper aims to imitate this structure by using metals and explore a concept of cultural identity through interactions of different cultures; to integrate design methodologies with artistic ideas in order to re-interpret traditional techniques and visual culture. This research has been involved an interdisciplinary experiment between the field of anthropology and fine art, which has been broadened the field research of art and design. Through theoretical research, field research, practice and other related methods, two series of art jewelry have been created by exploring cross joint structures, which has further investigated how to combine traditional techniques with characteristics of object of life journey. The two series have also brought traditional techniques into contemporary life by applying artistic thoughts and design methodologies.
引文
[1] 郭清华.传统中国建筑图典[M].The Images Publishing Group 公司,2002:114.
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[3] Fariello M A,Owen P,Fariello M A.Objects and meaning:New perspectives on art and craft [M].Maryland:Scarecrow Press,Inc.,2005:150.
[4] Bhabha,Homi K.The Location of Culture [M].New York:Routledge Taylor,1994:6-10.
[5] Halls,Du Gays P D,eds.“Introduction:Who Needs ‘Identity’?” In Questions of Cultural Identity[A].London:Sage,1996:5.
[6] Liu Xiaoxian.the Art Gallery of NSW[EB/OL].[2010-02-01] https://www.artgallery.nsw.gov.au/collection/works/11.2010.a-pp/.
[7] Künzli O.“Cubist Calligraphy?” in Mari Funaki [M].Australia:Gallery Funaki,1997:5.
[8] Rutherford J.“The Third Space.Interview with Homi.Bhabha,” In:Ders.(Hg):Identity:Community,Culture,Difference [M].London:Lawrence and Wishart,1990:220.
[2] 李乾朗.穿墙透壁——剖视中国经典古建筑[M].桂林:广西师范大学出版社,2009:11.
[3] Fariello M A,Owen P,Fariello M A.Objects and meaning:New perspectives on art and craft [M].Maryland:Scarecrow Press,Inc.,2005:150.
[4] Bhabha,Homi K.The Location of Culture [M].New York:Routledge Taylor,1994:6-10.
[5] Halls,Du Gays P D,eds.“Introduction:Who Needs ‘Identity’?” In Questions of Cultural Identity[A].London:Sage,1996:5.
[6] Liu Xiaoxian.the Art Gallery of NSW[EB/OL].[2010-02-01] https://www.artgallery.nsw.gov.au/collection/works/11.2010.a-pp/.
[7] Künzli O.“Cubist Calligraphy?” in Mari Funaki [M].Australia:Gallery Funaki,1997:5.
[8] Rutherford J.“The Third Space.Interview with Homi.Bhabha,” In:Ders.(Hg):Identity:Community,Culture,Difference [M].London:Lawrence and Wishart,1990:220.