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摘要:中國(guó)古代燈具承載著中華民族優(yōu)秀的文化傳統(tǒng)和造物思想，其中所蘊(yùn)涵的許多優(yōu)秀的設(shè)計(jì)思想、所反映出來(lái)的設(shè)計(jì)理念至今仍然閃爍著智慧的光芒。本文通過(guò)調(diào)查法、分析法、比較研究法、文獻(xiàn)資料法等研究方法，從設(shè)計(jì)的角度對(duì)中國(guó)春秋戰(zhàn)國(guó)燈具造型進(jìn)行研究，結(jié)合其時(shí)期經(jīng)濟(jì)背景、生活形態(tài)和文化思想背景，對(duì)燈具的造型做系統(tǒng)的分析研究，找出古人設(shè)計(jì)燈具的思想與特征，總結(jié)提煉，為現(xiàn)代燈具設(shè)計(jì)提供一種科學(xué)的思路，希望能對(duì)逐漸西化的現(xiàn)代中國(guó)燈具的民族化進(jìn)程有所借鑒和幫助。 全文共分為四個(gè)部分，第一部分為緒論，簡(jiǎn)要的敘述課題的意義、研究現(xiàn)狀、研究方法和目的、研究框架和創(chuàng)新點(diǎn)。第二部分為正文，共分為4點(diǎn)進(jìn)行論述。1、通過(guò)分析春秋戰(zhàn)國(guó)時(shí)期出現(xiàn)的典型燈具造型，結(jié)合時(shí)期的時(shí)代背景，論述其造型歷史沿革。2、深入論述燈具的造型要素和其中所蘊(yùn)涵的人機(jī)意識(shí)。3、論述中國(guó)古代燈具造型藝術(shù)的特征。4、春秋戰(zhàn)國(guó)時(shí)期燈具造型的特征。第三部分為燈具作品概念，以春秋戰(zhàn)國(guó)時(shí)期燈具造型藝術(shù)對(duì)現(xiàn)代燈具設(shè)計(jì)的啟發(fā)創(chuàng)作設(shè)計(jì)。第四部分則為全文的總結(jié)，總結(jié)中國(guó)古代燈具造型藝術(shù)的演變規(guī)律，春秋戰(zhàn)國(guó)時(shí)期燈具造型藝術(shù)對(duì)現(xiàn)代燈具設(shè)計(jì)的啟示。 關(guān)鍵詞：燈具 ，造型 ，特征，啟示 ，設(shè)計(jì)
Abstract:Chinese ancient artistic lamps bear the weight of national significant culture tradition and material making thoughts, and they imply many designing ideas and reflect lots of designing concepts that blazed with intelligence. This dissertation apply the approaches of investigating, analyzing, contrasting, and documenting, from the angle of design to studying the artistic lamps in the China Spring - Autumn and Warning States Period. Then the paper will make a systematical analysis over the shapes of the lamps integrating the background, living situation and cultural setting. As a result, the paper reach a conclusion to provide a scientific way on designing modern lamps and hope to give hands to reviving the general westernizing culture of Chinese modern lamps. This dissertation is divided into four chapters. Chapter One is introduction which makes brief description of the significance, rationale, research methods, structures and creative points on the paper. Chapter Two discusses the details into four points of view. Firstly, it explains historical evolution of lamp shapes linking to the setting of the China Spring - Autumn and Warning States Period through analyzing the typical lamp shapes emerged at that time. Secondly, it narrates the shaping elements and its suggesting humanized consciousness at length. Thirdly, it generally goes to the features of th ancient Chinese artistic lamps. Finally, it moves to the specific research on the shaping features of artistic lamps in the China Spring - Autumn and Warning States Period. Chapter Three is the summary of the dissertation that concludes the development law of the shaping art on ancient lamps and the thoughts it bring to us. Chapter Four is the very ending of the paper. It describes the concepts of lamp works and the novel disign on the basis of modern lamps designing thoughts brought with the shaping art in the China Spring - Autumn and Warning States Period. Key Words: Chinese ancient artistic lamps; shaping; features; thoughts; design
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