浅析传统家具中的壸门装饰
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摘要
佛教传入中国后,对中国家具的发展产生了巨大影响。中国工匠受到须弥座的启发,将其结构、造型和装饰巧妙地运用到家具设计中,开创了束腰和箱形两种结构类型,把壸门装饰用到极致,使其贯穿整个家具发展史,成为传统家具的标志性装饰图案。因此,对我国传统家具中壸门装饰的发展历史、演变过程和文化价值进行深入研究具有重要意义。通过借鉴建筑类型学的分析方法,按照历史朝代的推进顺序,对传统绘画、文献、实物等资料中家具的壸门装饰进行研究分析并从中提炼壸门图案,旨在梳理其发展历史及演变过程。此外,本研究还从壸门装饰的图案、数量、载体及与结构等方面出发,探索其在传统家具装饰中历久弥新的原因,挖掘其文化价值。
Since the introduction of Buddhism into China,Buddhist furniture has greatly impact on the development of Chinese furniture.Inspired by Sumeru pedestal,its structure,shape and decoration were applied skillfully to the design of the waist and box-shaped structure by Chinese craftsmen. Thus,Kunmen was developed to its full potential and became one of the symbolic decorative pattern of traditional furniture which sustained throughout the history of furniture.There are of great significance to analyze the development,evolution and cultural value of Kunmen decoration.By referring to the method of analysis of architectural typology,the decoration of Kunmen on furniture in traditional paintings, literatures and physical materials were explored with an aim to clarify the development and evolution of Kunmen in a chronological order. Furthermore,this paper try to find the reason why it existed in furniture decoration and excavated its cultural value from the aspects of pattern,quantity,carrier,structure,etc.
Since the introduction of Buddhism into China,Buddhist furniture has greatly impact on the development of Chinese furniture.Inspired by Sumeru pedestal,its structure,shape and decoration were applied skillfully to the design of the waist and box-shaped structure by Chinese craftsmen. Thus,Kunmen was developed to its full potential and became one of the symbolic decorative pattern of traditional furniture which sustained throughout the history of furniture.There are of great significance to analyze the development,evolution and cultural value of Kunmen decoration.By referring to the method of analysis of architectural typology,the decoration of Kunmen on furniture in traditional paintings, literatures and physical materials were explored with an aim to clarify the development and evolution of Kunmen in a chronological order. Furthermore,this paper try to find the reason why it existed in furniture decoration and excavated its cultural value from the aspects of pattern,quantity,carrier,structure,etc.
引文
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[22]许艳青,陈红,张晓伟,等.当代中国家具设计地域发展现状[J].家具,2018,39(5):21-25.
[2]潘谷西,何建中.《营造法式》解读[M].南京:东南大学出版社,2017.
[3]高伟霞,吴智慧,余继宏.基于SPSS的明清苏作家具木雕装饰差异分析[J].林产工业,2018,45(7):33-36.
[4]赵桂玲,沈隽,邓宗极,等.徽州透雕门窗雕刻纹样的视觉评价[J].林产工业,2018,45(3):31-36.
[5]胡文彦,于淑岩.中国家具文化[M].石家庄:河北美术出版社,2004.
[6]张天星,吴智慧,孙湉.中国髹饰工艺传承与发展的理论体系构建研究(上)[J].家具与室内装饰,2018(2):82-85.
[7]张天星,吴智慧,孙湉.中国髹饰工艺传承与发展的理论体系构建研究(下)[J].家具与室内装饰,2018(3):52-55.
[8]叶雨静,徐伟,詹先旭,等.从《萧翼赚兰亭图》看佛教文化对家具的影响[J].家具与室内装饰,2018(6):16-17.
[9]徐颖异,吴智慧.由百工发展历史窥探百工家具文化[J].家具,2018,39(2):82-86,89.
[10]徐颖异,吴智慧.由《燕几图》探寻宋代燕几家具文化[J].家具,2018,39(3):38-40,44.
[11]邵晓峰.中国宋代家具:研究与图像集成[M].南京:东南大学出版社,2010.
[12]王晓棠,吴智慧.明代文人对明式家具的影响[J].家具,2018,39(2):79-81.
[13]李慧敏,汪菲,袁玉洁,等.中韩宫廷家具对比研究[J].家具,2017,38(1):63-69.
[14]汪靖松,周橙旻.论宋代家具风格对新中式家具设计的影响[J].家具,2018,39(2):58-62,67.
[15]田家青.清代家具[M].北京:文物出版社,2012:19-47.
[16]刘传生.大漆家具[M].北京:故宫出版社,2013:104-107.
[17]王世襄.明式家具珍赏[M].北京:文物出版社,2003:153.
[18]王世襄.明式家具研究[M].上海:三联书店,2008.
[19]梁逸婧,袁哲.浅谈当代新中式家具设计方法[J].家具,2018,39(3):35-37.
[20]周橙旻,朱诣凡,于梦楠,等.基于年轻消费群心理调研的实木家具设计探究[J].包装工程,2018,39(24):226-231.
[21]鲁秋红,吴智慧.浅析《红楼梦》中家具使用所体现的中国清代礼制文化[J].家具,2017,38(2):53-59,93.
[22]许艳青,陈红,张晓伟,等.当代中国家具设计地域发展现状[J].家具,2018,39(5):21-25.