中国传统家具中束腰的发展演变  

The Development and Evolution of Waistband in Traditional Chinese Furniture

作　　者：蔡田田 郭宗平 王泽坤 CAI Tiantian;GUO Zongping;WANG Zekun(College of Arts,Taiyuan University of Technology,Taiyuan 030000,China)

机构地区：[1]太原理工大学艺术学院,太原030000

出　　处：《家具》2024年第4期104-109,共6页Furniture

基　　金：山西省艺术科学规划项目(2019G36)。

摘　　要：探究中国传世家具的造型规律,大多可归为无束腰和有束腰两大体系。束腰是指家具面板与牙板间的缩近部分,有着特定的造法特征和审美情趣,因此作为中国传统家具的重要构件得以延续传承,有很高的研究价值。束腰造型和结构源自于建筑的须弥座已经在学界形成普遍性认知,但在中国传统家具发展过程中,佛教须弥座的造型和结构如何被运用到家具的束腰,具体的发展演变过程有待深入探讨。研究以历史发展为线索,通过图像、文献和实物考证,探索家具束腰的文化源头,纵向梳理其发展演变过程和各阶段特征,阐述其造型、结构、装饰发展的逻辑及其背后的文化内涵,以完善关于传统家具构件的研究成果。Exploring the stylistic rules of traditional Chinese furniture,most of them can be classified into two major systems:with waistband and without waistband.The waistband refers to the narrowed part between the furniture panel and the tooth strip,which has specific characteristics in craftsmanship and aesthetic taste.Therefore,as an important component of traditional Chinese furniture,the waistband has been continued and inherited,possessing high research value.The stylistic and structural elements of the waistband originate from the architecture Xumizuo(Sumeru seat),which has been widely recognized in academia.However,in the development process of traditional Chinese furniture,how the stylistic and structural elements of the Buddhist Sumeru seat are applied to the waistband of furniture requires further exploration of the specific developmental process.This article takes historical development as a clue,explores the cultural origins of furniture waistband through images,literature,and physical evidence,longitudinally reviews its developmental process characteristics at each stage,elucidates the logic of the development of its stylistic,structure,and decorative elements,and the cultural connotations behind them,which will enhance the research results on traditional furniture components.

关 键 词：传统家具 束腰 发展演变 

分 类 号：TS664[轻工技术与工程]