摘要
徽州现存明代建筑主要修建于明中叶以后,其建筑木雕呈现出梁架雕刻图像丰富、门窗木雕简洁清雅、单体图像为主的审美特点。徽州建筑木雕作为建筑装饰部件而存在,它是徽商经济实力的展示,更是受社会制度和审美风尚所模塑的对自我文化想象的表征形式。其雕刻技艺保存《营造法式》所记载的建筑雕作制度、技艺和图像惯例。
The existing buildings of Ming Dynasty in Huizhou were mainly built after the middle of Ming Dynasty,and its architectural woodcarving showed the aesthetic characteristics of rich carved images of beams and frames,simple and elegant woodcarving of doors and windows with single images,which were regarded as the architectural decorative component of the building,inheriting the carving system,techniques and image conventions recorded in the Construction Methods.Huizhou woodcarving is not only a display of economic strength of Huizhou merchants,but also a representation of their own cultural imagination molded by social system and aesthetic customs.
作者
杨丽嘉
YANG Li-jia(Jiangxi Normal University,Nanchang,330022 Jiangxi,China)
出处
《徐州工程学院学报（社会科学版）》
2020年第6期73-77,93,共6页
Journal of Xuzhou Institute of Technology：Social Sciences Edition
基金
江西省文化艺术科学规划项目“婺源三雕艺术的图像内涵与当代重述”(YG2017146)。
关键词
明代
徽州木雕
审美特征
Ming Dynasty
Huizhou woodcarving
aesthetic characteristics
