宋代艺术缂丝设色的审美特征及嬗变  

Aesthetics features and evolution of Kesi art in Song Dynasty

作　　者：张康夫[1,2] 刘新华[1] 

机构地区：[1]天津大学建筑学院,天津300072 [2]浙江理工大学服装学院,浙江杭州310018

出　　处：《纺织学报》2016年第6期59-65,共7页Journal of Textile Research

基　　金：国家社科基金一般项目(12BG064);教育部人文社科一般项目(12YJA760091);浙江理工大学“翻转课堂”示范课程建设项目(浙理工教〔2015〕21号)

摘　　要：为科学论证宋代艺术缂丝设色的审美特征,首先运用数字化采集方法获得本案例中每个作品的色卡,其次将采集色卡植入色调图,根据其在色调图中的分布情况计算出其色相、纯度、明度和冷暖的数据比例;然后结合宋代审美理论分析这些作品在设色、用墨、调性等方面的用色规律,总结宋代艺术缂丝的审美特征以及从富丽精致向墨色淡雅色彩审美转变的内在关系。指出在宋代理学和道学的综合影响下,虽然富丽精致和水墨淡彩2种色调并存,但文人化审美倾向逐渐占据上风,引领宋代艺术缂丝的色彩审美由金碧辉煌逐渐转向恬静、清新、雅致的美学风格,抑彩杨墨的色彩审美倾向开始成为主流。Based on digital acquisition,the color card of each work is obtained to present the aesthetic features of the art of Kesi in Song Dynasty. The color card is implanted into pattern and then the digital proportion of hue,purity and brightness is calculated according to their distribution in the color graph.The rules of color application in terms of design,ink and pattern is analyzed in accordance to the aesthetic theory in Song Dynasty and some aesthetic features in the inner relationship between extravagant and exquisite style and elegant and quiet style are summarized. The paper concludes that with the influence of ethics and neo-confucianism,and the co-existence of above mentioned two styles,literati stylization aesthetic tendency became the main trend and gradually evolved from grandness to quietness and freshness,showing the tendency of gradual diluteness of color.

关 键 词：宋代 艺术缂丝 设色 审美特征 

分 类 号：J523[艺术—艺术设计]