同源异流:藏式家具中莲花纹的演变与应用研究  

Same Origin and Different Stream:Study on the Evolution and Application of Lotus Pattern in Tibetan Furniture

作　　者：王悦 唐立华[1] 赵茉涵 WANG Yue;TANG Lihua;ZHAO Mohan(College of Furnishing and Art Design,Central South University of Forestry and Technology,Changsha,Hunan,410004,China;School of Art and Design,Hongyi University,Seoul,100477,Korea)

机构地区：[1]中南林业科技大学家居与艺术设计学院,湖南长沙410004 [2]弘益大学艺术设计学院,韩国首尔100477

出　　处：《家具与室内装饰》2025年第4期130-134,共5页Furniture & Interior Design

基　　金：国家社科基金艺术学项目:中国当代家具设计的理性机制与定制模式下的实证研究(19BG123)。

摘　　要：聚焦汉藏文化交流背景下藏式家具中莲花纹的演变与应用。从汉藏本土文化和宗教交流两方面入手,深入研究莲花纹在汉地的历史起源、汉藏交流过程中的变化,以及在藏地的装饰特征演变。通过追溯莲花纹的源流,揭示了汉藏文化交流对其发展过程的深远影响,并从受到汉地文化影响到反向影响汉地文化的成因,进一步分析和总结了莲花纹在藏式家具装饰中发展出的四种主要变化样式,最后提出了莲花纹在当代藏式家具设计中的创新思路与立足之本。This paper focuses on the evolution and application of lotus pattern in Tibetan furniture under the background of Sino-Tibetan cultural exchanges.Starting from the two aspects of Sino-Tibetan local culture and religious exchanges,this paper deeply studies the historical origin of lotus patterns in the Han Dynasty,the changes in the process of Sino-Tibetan exchanges,and the evolution of decorative characteristics in the Tibetan region.By tracing the origin of lotus pattern,this paper reveals the profound influence of Sino-Tibetan cultural exchange on its development process,further analyzes and summarizes the four main changes of lotus pattern in Tibetan furniture decoration,and finally puts forward the innovative ideas and basis of lotus pattern in the contemporary Tibetan furniture design.

关 键 词：莲花纹 藏式家具 汉藏交流 同源异流 

分 类 号：TS664.1[轻工技术与工程]