明清京作雕饰家具设计文化探析  

A Probe into the Design Culture of Beijing Carved Hardwood Furniture in Ming and Qing Dynasty

作　　者：赵桂玲[1] 邓宗极 Zhao Guiling;Deng Zongji

机构地区：[1]东北农业大学艺术学院,黑龙江哈尔滨150030

出　　处：《家具与室内装饰》2021年第6期68-72,共5页Furniture & Interior Design

基　　金：黑龙江省哲学社会科学研究规划一般项目(20YSB056)。

摘　　要：通过对现存明清京作雕饰家具实例信息的收集、整理、分析,归纳明清京作雕饰家具设计文化特征,探析不同时期明清京作雕饰家具设计文化流程演变。其上承宋元家具形式,清初鉴于统治阶层的政治影响又融入满族传统家具型制体系,整体发展脉络由初期的简洁到中后期的繁复,由装饰与结构紧密结合到装饰与结构分化。明清京作雕饰家具注重整体造型、雕饰层次、用材考究,具有鲜明时代特点。雕饰题材、雕饰技艺、雕饰面积、雕饰位置等在明清京作雕饰家具的不同发展阶段有显著变化。Through the collection,sorting,and analysis of the practical information of existing Beijing carved hardwood furniture,this paper summarized the cultural characteristics of its design to explore its changing process in different period of time of Ming and Qing Dynasties.The form of Beijing carved hardwood furniture of the Ming and Qing Dynasties inherited that of the furniture in the Song and Yuan Dynasties.Then,its form changed from a simple style in the early stage to a complicated one in the middle and late stages.The decoration and structure of it were also getting less and less integrated.All these were due to the political influence of the new ruler of China,who introduced the Manchu traditional furniture modeling system into the carved hardwood furniture.We can see that carved hardwood furniture pays a lot of attention to the overall modeling,carving structure,and materials,which all have distinguishing characteristics of its times.Also,the theme,technique,area,and position of the carving have all gone through significant changes in its different development periods.

关 键 词：明清时期 京作家具 雕饰 设计 文化 

分 类 号：TU238.2[建筑科学—建筑设计及理论]