厌胜钱造型要素的现代解析与应用
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摘要
厌胜钱主要指我国古代具有吉祥或厌禳文字与图像的,主要用途与古代厌禳巫术有关的非流通钱币,是我国钱币文化与造型艺术的完美结合体。这类文物的数量巨大,种类繁多,具有丰厚的文化内涵。它流行于民间,反映了不同时代人们的精神生活和物质生活内容,而是每个时代社会生产力发展的一个缩影,是艺术和技术相结合的产物,它具有浓郁的民族特性的艺术形式,不追求自然形象的逼真摹写,而是重视结构形式的律动感和生命感。在物质文明和精神文明高度发达的今天,对厌胜钱造型要素艺术进行研究,不仅对学习和传承民间美术有着深刻的社会意义,而且可以从中了解不同时期、不同地域的社会面貌、风俗文化,对于我们进一步的探索、研究和继承厌胜钱的艺术价值乃至传统文化都有着极其重要的意义。
本文在梳理厌胜钱的历史发展脉络的基础上,分析影响压胜钱造型要素内容与形式的文化背景,分别从动物纹、植物纹、人物纹、云气纹几个方面对厌胜钱造型要素的美学内涵进行了探讨,通过对厌胜钱造型从“形”与“神”的分析,研究了厌胜钱造型要素蕴含的传统文化元素对现代设计的启示,浅析了厌胜钱造型与纹饰在现代设计中的应用方法,最后结合现代设计理念,探讨当代设计艺术如何传承厌胜钱造型的形与神,由此总结出厌胜钱造型要素的现代启示意义。挖掘厌胜钱造型艺术对现代艺术设计的启发,追根溯源、古为今用、学以致用,这也是该论文研究的最终目的和真正原因。
From the perspective of decoration art, this thesis mainly studied the art of modeling factors of Exorcism Numismatics. Its unique functional attributes and cultural connotation endowed Exorcism Numismatics with unique modeling design, which reflected a variety of individual daily life information and thousands of years of social cultural development of China as well. The modeling patterns of Exorcism Numismatics are an irreplaceable portion of traditional Chinese culture essence and will change with the changing styles of all times. It condensed the essence of Chinese folk custom of all dynasties, is a miniature of the development of the social productive force and the result that art and technology combined together. With Chinese natural view and design concept, it still has deep and positive significance; its design thoughts that“Practical Utility First”and“Delicious Food is Inferior to Beautiful Utensil”still have important enlightenment on modern design.
This thesis analyzed the design aesthetics connotation of Exorcism Numismatics modeling factors from animal pattern、Plant pattern、Figures pattern、clouds pattern respectively, studied the enlightenment of its traditional cultural elements on modern design by analyzing its form and spirit, briefly analyzed the application of its modeling design and pattern and finally, in the light of reality, put forward to examples of Exorcism Numismatics design in modern application and explored its application ideas in modern design, thereby providing scientific suggestions and certain theoretical basis for the improvement of Chinese modern design level.
本文在梳理厌胜钱的历史发展脉络的基础上,分析影响压胜钱造型要素内容与形式的文化背景,分别从动物纹、植物纹、人物纹、云气纹几个方面对厌胜钱造型要素的美学内涵进行了探讨,通过对厌胜钱造型从“形”与“神”的分析,研究了厌胜钱造型要素蕴含的传统文化元素对现代设计的启示,浅析了厌胜钱造型与纹饰在现代设计中的应用方法,最后结合现代设计理念,探讨当代设计艺术如何传承厌胜钱造型的形与神,由此总结出厌胜钱造型要素的现代启示意义。挖掘厌胜钱造型艺术对现代艺术设计的启发,追根溯源、古为今用、学以致用,这也是该论文研究的最终目的和真正原因。
From the perspective of decoration art, this thesis mainly studied the art of modeling factors of Exorcism Numismatics. Its unique functional attributes and cultural connotation endowed Exorcism Numismatics with unique modeling design, which reflected a variety of individual daily life information and thousands of years of social cultural development of China as well. The modeling patterns of Exorcism Numismatics are an irreplaceable portion of traditional Chinese culture essence and will change with the changing styles of all times. It condensed the essence of Chinese folk custom of all dynasties, is a miniature of the development of the social productive force and the result that art and technology combined together. With Chinese natural view and design concept, it still has deep and positive significance; its design thoughts that“Practical Utility First”and“Delicious Food is Inferior to Beautiful Utensil”still have important enlightenment on modern design.
This thesis analyzed the design aesthetics connotation of Exorcism Numismatics modeling factors from animal pattern、Plant pattern、Figures pattern、clouds pattern respectively, studied the enlightenment of its traditional cultural elements on modern design by analyzing its form and spirit, briefly analyzed the application of its modeling design and pattern and finally, in the light of reality, put forward to examples of Exorcism Numismatics design in modern application and explored its application ideas in modern design, thereby providing scientific suggestions and certain theoretical basis for the improvement of Chinese modern design level.
引文
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[2]戴志强.古代中国的钱币[J].中国钱币,2003(2):35.
[3]高文.汉代钱纹砖浅晰[J].中国钱币,1993(2).
[4]朱华.山西平朔县西汉墓出土吉语钱[M].太原钱币简讯,1999(3).
[5]赵克理.中国传统设计文化论[M].中国轻工业出版社,2008.
[6]刘森.我国翻砂铸钱工业产生的时间考[J].安徽钱币,1992(1).
[7]徐达元.我国古代的包金、镏金、错金币[J].中国钱币,1996(3).
[8]潘鲁生著.民艺学概论[M].山东教育出版社,2002.
[9]朱熹.孟子离娄章句上.四书集注[M].湖南,岳麓书社,1987.
[10]冯友兰.中国哲学简史[M].新世界出版社,2004.
[11]李泽厚.美的历程[M].天津社会科学院出版社,200l.
[12]德西迪厄斯·奥班恩.艺术的涵义[M].学林出版社,1985.
[13] [清]郭庆藩撰,王孝鱼点校.庄子集释·新编诸子集成[M].中华书局,2004.
[14]李泽厚.华夏美学[M].天津社会科学院出版社,200l.
[15]彭吉象.中国艺术学[M].北京大学出版社[M],2007.
[16]左汉中.中国民间美术造型[M].湖南美术出版社,1992.
[17]潘鲁生著.民艺学概论[M].山东教育出版社,2002.
[18]靳之林.绵绵瓜瓞[J].广西师范大学出版社,200l,.
[19]刘春生.中国古代镂空花钱鉴赏[M].作家出版社,2005.
[20]唐星明.甘小华:《装饰艺术设计[M].重庆:重庆大学出版社,2002.
[21]郑轶伟.中国厌胜钱图典[M].上海文化出版社,2004.
[22]尹定邦.设计学概论[M].长沙,湖南科学技术出版社,2006
[23]彭吉象著.中国艺术学[M].北京大学出版社2007.
[24] H.里德.艺术的真谛[M].辽宁人民出版社,1987.
[25]吴祖慈.艺术形态学[M].上海,上海交通大学出版社,2003.
[26]夏征农.陈至立.辞海[M].上海辞书出版社,2009.
[27]郎绍君.中国民间美术研究[M].贵州美术出版社,1987.
[28]李泽厚.美的历程[M].北京文物出版社,1981
[29]王令中.视觉艺术心理——美术形式的视觉效应与心理分析[M].北京人民美术出版社,2006
[30]王抗生.现代图案变化技巧[M].中国轻工业出版社,1994
[31]马克思. 1844年经济学哲学手稿[M].人民出版社,1979.
[32]潘鲁生著.民艺学概论[M].山东教育出版社,2002
[33] [美]鲁道夫·阿恩海姆.艺术与视知觉[M].中国社会科学出版社,1984.
[34]唐星明.装饰文化纲论[M].重庆:重庆大学出版社,2006
[35]王之敏.传统吉祥图案的意向研究[M].台湾成功大学中国文学系,2000
[36]谢承仁.中华传统思想渊源[M].北京:人民出版社,2004.
[37]赵克理著.顺天造物——中国传统设计文化论[M].中国轻工业出版社2008.
[38] [清]张英著.聪训斋语[M].北京,中国戏剧出版社,2000.