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中国山水图式作为漆器的装饰语言,在战国和两汉漆器大量采用意象图案的时期之后,在宋元明三代登上了一个又一个的高峰。在宋元明清的漆器中,山水画作为漆器的装饰图案大量存在,一直活跃在人们的生活中,因为文人们都希望拥有一种盘古情结,希望要在一丘一壑的营构中创造自己的宇宙情怀。大自然是中华民族在天人合一信仰下所能找到的最理想的精神家园,寄情于山水是对当时社会性所带来种种人生束缚的逃避,是对精神自由的热烈追求。
As the decorative language of lacquerware, Chinese landscape pattern boasted one after another peak in the Song, Yuan and Ming dynasties after the period when the Warring States Period and the Han Dynasty lacquer wares used a lot of imagery patterns. Among the lacquer wares of the Song, Yuan, Ming and Qing dynasties, the landscape paintings as decorative lacquer patterns exist in abundance and have been active in people’s lives because literary people want to have a Pangu complex and hope to create their own universe in a hill-and- feelings. Nature is the most ideal spiritual home that the Chinese nation can find under the belief of the unity of heaven and man. Sending love to the landscape is the evasion of various kinds of life bounds brought about by sociality at that time. It is a passionate pursuit of spiritual freedom.