本科畢業(yè)論文茶具設(shè)計(jì)

1、本科畢業(yè)論文茶具設(shè)計(jì)燕 山 大 學(xué) 2012年6月 摘 要如今，隨著生活節(jié)奏的加快、工作壓力的增強(qiáng)，人與人之間的交流時(shí)間也變得越來(lái)越少，飲茶可以使人獲得片刻安詳、和平、輕松、愉悅的享受。城市里相應(yīng)地出現(xiàn)了各種各樣的茶樓，成為人們消遣、休閑、聚會(huì)的好去處，茶文化帶動(dòng)了陶瓷茶具設(shè)計(jì)的空前興旺，市場(chǎng)出現(xiàn)了各式各樣的陶瓷茶具。現(xiàn)代陶藝的興起，帶動(dòng)了陶瓷茶具設(shè)計(jì)審美領(lǐng)域的革新。陶瓷茶具的設(shè)計(jì)已經(jīng)成為現(xiàn)代生活中新的元素，文人茶具的出現(xiàn)也是這個(gè)時(shí)代最顯著的特色。文人們將飲茶活動(dòng)與陶瓷茶具設(shè)計(jì)結(jié)合起來(lái)，融入自己的生活，反映了在浮躁、利的現(xiàn)實(shí)世界文人回歸自然的愿望。總之，在審美多元化的今天，茶具也順應(yīng)其時(shí)代的需

2、求從而呈現(xiàn)出多姿多彩的面貌縱觀中國(guó)歷代陶瓷茶具的發(fā)展，我們可以了解各時(shí)代的文化背景，古往今來(lái)，人們對(duì)陶瓷茶具的選擇和使用，不僅與時(shí)代的飲茶方式，而且同地域飲茶習(xí)俗有密切的關(guān)系，陶瓷茶具的發(fā)展，也反映了人們對(duì)茶學(xué)、茶性、茶文化的認(rèn)識(shí)與理解。飲茶是一種物質(zhì)活動(dòng)，更是精神藝術(shù)活動(dòng)，由此可見(jiàn)，中國(guó)歷代飲茶習(xí)俗的演變促進(jìn)了陶瓷茶具的不斷發(fā)展。茶文化發(fā)展過(guò)程就是陶瓷茶具日臻完善的過(guò)程，也是人類文明進(jìn)步的過(guò)程。“茶”象征著一種清凈與灑脫，是一種生活態(tài)度，也是一種獨(dú)到的意境；是一種簡(jiǎn)單的心態(tài)，也是一種脫俗的情懷。茶具是現(xiàn)代人類生活中必不可少的用品之,本文章論述了以精神為導(dǎo)向的情感化茶具所承載的內(nèi)涵與外延。關(guān)鍵

3、詞茶具；茶文化；浮躁；回歸自然；精神導(dǎo)向AbstractNow, with the accelerated pace of life, work pressure increased, the exchanges between people and time is becoming less and less, tea can make people get a quiet, peaceful, relaxed, cheerful enjoyment. In the city the corresponding emergence of various restaurants, entert

4、ainment, leisure, the party became a good place, tea culture has driven the unprecedented prosperity of ceramic tea set design, the market appeared every kind of ceramic tea sets. The rise of modern ceramic art, led the ceramic tea set design aesthetic innovations. Ceramic tea set design has become

5、a new element in the modern life, bookman tea also appeared the most striking feature. The people will be tea and tea ceramic design combine, into their lives, reflected in the impetuous, Lee world scholar 's desire to return to nature. In short, in the aesthetic diversity today, tea is also res

6、ponsive to the needs of the times and thus showing a colorful landscape in Chinese ceramic tea development, we can understand the cultural background, from ancient to modern times, people on the ceramic tea set selection and use, not only with the way of tea drinking, but also with the local tea cus

7、tom close relationship, ceramic tea development, also reflected people to tea, tea, tea culture knowledge and understanding. Tea is a kind of physical activity, but is in the spiritual and artistic activities, therefore, Chinese tea custom facilitated the evolution of ceramic tea development. Tea cu

8、lture is the development of ceramic tea improving process, but also the progress of human civilization process." Tea" means a clean and clear, is an attitude of life, is also a kind of unique artistic conception; is a simple mind, is also a kind of refined feelings. Tea is the modern human

9、 life essential supplies, the present article discusses the spiritual orientation of emotion the connotation and extension of tea.KeywordsTea; tea culture; impetuous; returning to nature; spiritual guidance目 錄摘要IAbstractII緒論1一、茶具與茶文化3（一）茶具的興起與功能3（二）茶文化的精神內(nèi)涵3 二、茶具設(shè)計(jì)（一）茶具設(shè)計(jì)發(fā)展趨勢(shì).4（二）崇尚自然，返璞歸真.5（三）自然之味，

10、意境之美.5結(jié)論6參考文獻(xiàn)7致謝8附錄一1 開(kāi)題報(bào)告5附錄二2 文獻(xiàn)綜述6緒論 品茶之美，美在意境。當(dāng)人們?cè)诜泵Φ墓ぷ髦啵闵弦槐悴?，去感受茶自然的香、鮮、甜、醇，觀杯中亦濃亦淡的湯色，若眉若花的葉芽。賞手中或精巧別致或簡(jiǎn)約大方的茶具，茶香繚繞，云氣裊裊；細(xì)啜慢飲，悠悠回味，自覺(jué)齒頰生香，清幽撲鼻，疲勞頓消。此等意境令人心曠神怡，矜持不躁，物我兩忘。讓人們?cè)诜泵Φ墓ぷ魃钪蟹潘缮硇?、感悟美好。人們?duì)于能夠創(chuàng)造出具有藝術(shù)美的工具，早已經(jīng)超出“工欲善其事，必先利其器”那種以實(shí)用為目的范圍。同樣，品茶作為一種藝術(shù)實(shí)踐，人們對(duì)品茶藝術(shù)的工具陶瓷茶具，求其實(shí)用，求其精良，求其美觀，求其本身具有藝術(shù)欣

11、賞價(jià)值，也是很自然的了。 一、茶具與茶文化（一）茶具的興起與功能茶具指泡飲茶葉的專門(mén)器具，包括茶壺，茶碗，茶杯，茶盤(pán)，茶托等，古人講究飲茶之道的另一個(gè)重要表現(xiàn)，是非常注重茶具本身的藝術(shù)，一套精致的茶具配合色，香，味三絕的名茶，可謂相得益彰。隨著飲茶之風(fēng)的興盛及各個(gè)時(shí)代飲茶風(fēng)俗的演變，茶具的品種越來(lái)越多，質(zhì)地越來(lái)越精美。1. 茶具的興起“飲茶之樂(lè)，其樂(lè)無(wú)窮”自古以來(lái)，人們視茶為健身的良藥，生活的享受，修身的途徑，友誼的紐帶。中國(guó)茶文化歷史悠久，早在原始社會(huì)就已萌發(fā)。茶作為人們?nèi)粘Ｉ钪虚_(kāi)門(mén)七件事中的一事，在勞作之余成為必不可少的消遣和健體的居家必備物資。茶具是伴隨著茶文化的興起應(yīng)運(yùn)而生的，它是茶

12、文化中一個(gè)重要的組成部分同時(shí)它優(yōu)雅的造型工藝和色彩斑斕的裝飾藝術(shù)，為茶文化的延續(xù)發(fā)揮著不可替代的作用。2. 茶具的運(yùn)用茶具是茶文化中最為瑰麗多姿的組成部分，茶具藝術(shù)中包含著一代又一代設(shè)計(jì)師的巧思妙想，抒發(fā)著茶人們對(duì)茶文化的無(wú)限暢想。（二）茶文化的精神內(nèi)涵廣義的茶文化是指整個(gè)茶葉發(fā)展歷程中有關(guān)物質(zhì)和精神財(cái)富的總和。狹義的茶文化則是專指其“精神財(cái)富”部分。 1茶道精神茶文化是東方文化的精髓部分和重要文化遺產(chǎn)。中國(guó)的茶文化歷史悠久、博大精深,吸收了儒、道、佛三家的思想精華,其核心是茶道。從心態(tài)文化的角度來(lái)看,人們?cè)趹?yīng)用茶葉的過(guò)程中所孕育出來(lái)的價(jià)值觀念、審美情趣、思維方式等主觀因素,如人們?cè)谄凤嫴铚珪r(shí)

13、所追求的審美情趣、在茶藝操作過(guò)程中所追求的意境和韻味,以及由此生發(fā)的豐富聯(lián)想,反映茶葉生產(chǎn)、茶區(qū)生活、飲茶情趣的文藝作品,將飲茶與人生處世哲學(xué)相結(jié)合,上升至哲理高度,形成所謂的茶德、茶道,等等,是茶文化的最高層次,也是茶文化的核心部分。中國(guó)茶文化以儒家思想為核心,體現(xiàn)在“理、敬、清、融”的中國(guó)茶德上,講究中和之美,更崇尚自然美、隨和美。歷史悠久、形式完美、內(nèi)涵厚重的中國(guó)茶文化,是一個(gè)從形式到內(nèi)容,從物態(tài)到精神的結(jié)合體系,是中國(guó)人民智慧的特殊創(chuàng)造和中華民族思想的集中體現(xiàn)。 2茶文化的社會(huì)功能在當(dāng)今的現(xiàn)實(shí)生活中，商品大潮洶涌，物欲膨脹，生活節(jié)奏加快，競(jìng)爭(zhēng)激烈，人心浮躁，心理易于失衡，人際關(guān)系趨于緊

14、張。而茶文化是各雅靜、健康的文化，它能使人們繃緊的心靈之弦得以松弛，傾斜的心理得以平衡。以“和”為核心的茶道精神，提倡和誠(chéng)處世，以禮待人，對(duì)人多奉獻(xiàn)一點(diǎn)愛(ài)心，一份理解，建立和睦相處、相互尊重、互相關(guān)心的新型人際關(guān)系。1. 以茶雅心陶冶個(gè)人情操。茶道中的“清”、“寂”、“廉”、“美”、“靜”、“儉”、“潔”、“性”等，側(cè)重個(gè)人的修身養(yǎng)性，通過(guò)茶藝活動(dòng)來(lái)提高個(gè)人道德品質(zhì)和文化修養(yǎng)。2. 以茶敬客協(xié)調(diào)人際關(guān)系。茶道中的“和”、“敬”、“融”、“理”、“倫”等，側(cè)重于人際關(guān)系的調(diào)整，要求和誠(chéng)處世，敬人愛(ài)民，化解矛盾，增進(jìn)團(tuán)結(jié)，有利于社會(huì)秩序的穩(wěn)定。3. 以茶行道凈化社會(huì)風(fēng)氣。 二、茶具設(shè)計(jì)（1） 茶具

15、設(shè)計(jì)發(fā)展趨勢(shì)在進(jìn)行陶瓷茶具的設(shè)計(jì)、制作過(guò)程中，要研究掌握前人在實(shí)踐中已經(jīng)總結(jié)出來(lái)的美學(xué)規(guī)律，全面了解我們中華民族幾千年來(lái)陶瓷文化及茶文化姊妹藝術(shù)的真諦，用豐富、廣博的藝術(shù)去釀造、設(shè)計(jì)、制作現(xiàn)代陶瓷茶具。 陶瓷茶具的設(shè)計(jì)、制作風(fēng)格，很大程度上體現(xiàn)在其質(zhì)地方面。因?yàn)椴馁|(zhì)的不同，才會(huì)有工藝處理的差異，最終使得效果各異，風(fēng)格多樣。茶具的材質(zhì)，顯然是陶瓷、紫砂唱主角，其他如玻璃、金銀、竹木牙角之類、盡管也很出色，但為數(shù)畢竟太少而形不成氣候。陶瓷茶具的發(fā)展，是陶瓷工藝發(fā)展中的一部分，也貫穿了陶瓷史。欣賞陶瓷茶具，可以說(shuō)基本上是欣賞陶瓷之美。 我希望通過(guò)對(duì)國(guó)際上現(xiàn)代陶瓷茶具設(shè)計(jì)的了解，通過(guò)對(duì)設(shè)計(jì)作品較為直觀

16、的認(rèn)識(shí)和分析，尋找到茶文化和陶瓷文化的共性，以及陶瓷茶具造型藝術(shù)自身的特殊性，探尋美的內(nèi)涵。特別是希望借鑒各國(guó)陶瓷設(shè)計(jì)的經(jīng)驗(yàn)，提高中國(guó)陶瓷茶具的設(shè)計(jì)水平，以創(chuàng)造出更多，更好的陶瓷茶具產(chǎn)品，豐富人們的現(xiàn)代生活。 我們?cè)诮梃b傳統(tǒng)陶瓷茶具造型進(jìn)行新的陶瓷茶具設(shè)計(jì)時(shí)，應(yīng)注意因地制宜，挑選那些能代表當(dāng)時(shí)藝術(shù)成就的典型產(chǎn)品。在嫁接、演化等改造時(shí)，既要保留原物的欣賞性和實(shí)用性的獨(dú)有風(fēng)格，又要避免一味的抄襲。新增添的輔件要能起對(duì)主體的襯托作用，聯(lián)接要和諧自然，線性的剛?cè)嵋c主體相呼應(yīng)。（二）崇尚自然，返璞歸真設(shè)計(jì)中采用大自然中的元素，在茶道中表現(xiàn)為人對(duì)自然的回歸渴望，以及人對(duì)"道"的認(rèn)識(shí)。

17、具體表現(xiàn)為人在品茶時(shí)樂(lè)于于自然親近，在思想情感上能與自然交流，在人格上能與自然相比擬并通過(guò)茶事實(shí)踐去體悟自然的規(guī)律。中國(guó)茶道中"人化自然"的渴求特別強(qiáng)烈，表現(xiàn)味茶人們?cè)谄凡钑r(shí)追求寄情于山水，忘情與山水，心融于山水的境界。所以在中國(guó)茶人的眼里，大自然的一山一水一石一沙一草一木都顯得格外可愛(ài)，格外親切。在茶人眼里，月有情、山有情、風(fēng)有情、云有情，大自然的一切都是茶人的好朋友。作品采用大自然中的“山、石、水”，把它們的造型加以提煉，用他們的神韻來(lái)詮釋山石水的“氣清、味甘、寂靜”的氣韻。它賦予人一種“靜”的心態(tài)。從而達(dá)到讓品茶者舉手喝一杯茶，神情清爽的感覺(jué)。通過(guò)形態(tài)來(lái)體現(xiàn)茶文化蘊(yùn)涵

18、的一款現(xiàn)代簡(jiǎn)約風(fēng)茶具。現(xiàn)代簡(jiǎn)約風(fēng)格的清淡與優(yōu)雅是絕大多數(shù)現(xiàn)代人喜歡的直接理由，也正是這股清淡與優(yōu)雅將茶本身的氣質(zhì)與特點(diǎn)表現(xiàn)得恰到好處。（三）自然之味，意境之美茶具設(shè)計(jì)中采用了“山、石、水”給人以清新、淡雅、閑適、悠然，親切而自然的感覺(jué)，讓喝茶更有意境，品茶更有自然之味。能由茶中的意境所引導(dǎo)，引導(dǎo)我們進(jìn)入一個(gè)默想的人生世界。讓人們從茶的感覺(jué)中放松“心靈”，去感受心原本是一壺茶，卻身處大自然之中，包容大自然之味，讓人們?cè)谄凤嫴铚珪r(shí)達(dá)到所追求的意境和韻味,以及由此生發(fā)的豐富聯(lián)想，茶之意境。雖是一杯普通的茶，卻有不普通的意境。這款茶具平凡中顯示出超俗，淡雅中不乏激情，它讓你更加清醒，也讓你更加從容。這

19、種意境，就是陶醉。顏色采用白（潔凈、品質(zhì)）、綠（自然、淳樸）。體現(xiàn)清凈、自然、脫俗的情懷。以品茶人的精神觀念為導(dǎo)向的一款情感化茶具, 用茶具設(shè)計(jì)用使用的“山、石、水”的元素以及造型設(shè)計(jì)來(lái)喚起人們的感情，創(chuàng)造一種情境與氣氛，產(chǎn)生令人精神愉悅的情感共鳴, 給人一種身臨其境, 回味無(wú)窮的愉悅體驗(yàn)。結(jié)論陶瓷茶具造型的發(fā)展，經(jīng)歷了一個(gè)從低級(jí)到高級(jí)，從簡(jiǎn)單到復(fù)雜，從實(shí)用到欣賞這樣一個(gè)漫長(zhǎng)的過(guò)程。經(jīng)過(guò)千百年不斷的演進(jìn)陶瓷茶具造型的種類日趨繁多，形制變幻莫測(cè)，無(wú)拘無(wú)束。然而，古代先民那種質(zhì)樸醇厚的陶瓷茶具造型風(fēng)格，正在被大工業(yè)化生產(chǎn)方式所吞噬。只是在某些陶瓷設(shè)計(jì)家的筆端還仍然保留著傳統(tǒng)文化的色彩。更多的人追求

20、各種現(xiàn)代幾何、動(dòng)感、意念等風(fēng)尚將其與傳統(tǒng)與自然拉開(kāi)了距離。在快節(jié)奏程式化、秩序化勞動(dòng)方式中生活的人們，異?？是竽窃?shī)情畫(huà)意般充滿古之風(fēng)、自然之風(fēng)的陶瓷茶具，象那些造型工細(xì)裝飾清新淡雅的陶瓷茶具、造型簡(jiǎn)煉自然、穩(wěn)重、大方的飲杯以及充滿自然風(fēng)情粗獷豪放的茶具。參考文獻(xiàn)中國(guó)歷代茶具余彥焱編著浙江攝影出版社茶具胡小軍. 浙江大學(xué)出版社茶文化之孕育楊洋. 茶具鑒賞略談陶瓷茶具的設(shè)計(jì)張玲霞. 江西陶瓷工藝出版中國(guó)古代飲茶藝術(shù)劉昭瑞著陜西人民出版社茶文化與茶具 四川科學(xué)技術(shù)出版社，2004.齊斯馬克思主義美學(xué)基礎(chǔ) M.北京：中國(guó)文聯(lián)出版社，1985產(chǎn)品形態(tài)契合設(shè)計(jì)研究 張?chǎng)?南京理工大學(xué)品茶館*中國(guó)老茶具典藏

21、圖鑒 郭丹英，王建榮 中國(guó)輕工業(yè)出版社 2011產(chǎn)品創(chuàng)新設(shè)計(jì) 邊守仁 北京理工大學(xué)出版社 2002.致謝大學(xué)的最后一次作業(yè)終于圓滿完成，四年的生活就要畫(huà)上句號(hào)，而我即將要離開(kāi)這里。四年來(lái)在腦海里留下了太多的回憶，而最重要的是我完成了人生中最重要的學(xué)習(xí)階段大學(xué)，即將開(kāi)始另一段人生歷程。感謝燕山大學(xué)藝術(shù)與設(shè)計(jì)學(xué)院的每一位老師，為我們營(yíng)造了良好的學(xué)習(xí)氣氛，使我們接受了全而新的設(shè)計(jì)思想，樹(shù)立了正確的人生目標(biāo)，最重要的是讓我們學(xué)會(huì)了如何去思考，在以后的人生道路上，我們有了正確的指向標(biāo)。同時(shí)還感謝父母的辛苦培養(yǎng)，同學(xué)朋友的支持和幫助，謝謝陪我長(zhǎng)大的每一個(gè)人，讓我學(xué)會(huì)珍惜。在所有的設(shè)計(jì)中曾經(jīng)給過(guò)我指導(dǎo)的老師

22、、同學(xué)，謝謝你們無(wú)私的幫助！最后，深深感謝評(píng)閱我的論文和參與答辯的老師們，謝謝你們，辛苦了！ 附錄一燕 山 大 學(xué)本科畢業(yè)設(shè)計(jì)（論文）開(kāi)題報(bào)告課題名稱： 茶具 設(shè)計(jì) 學(xué)院（系）： 藝術(shù)與設(shè)計(jì)學(xué)院 年級(jí)專業(yè)： 工業(yè) 設(shè)計(jì) 學(xué)生姓名： 胡永姣 指導(dǎo)教師： 李 靜 完成日期：2012年3月14號(hào)一、綜述本課題國(guó)內(nèi)外研究動(dòng)態(tài)，說(shuō)明選題的依據(jù)和意義生機(jī)勃勃的茶具市場(chǎng)：調(diào)查顯示，茶具以沖刺的形勢(shì)勇攀高峰，它的銷量帶動(dòng)了餐廚行業(yè)向良好方面發(fā)張的形勢(shì)，是餐具行業(yè)的最大賣(mài)點(diǎn)之一；飲茶習(xí)慣的改變和技術(shù)的革新催生電茶具市場(chǎng)的飄紅；家庭茶室的發(fā)展、人民生活水平的提高、茶葉銷量的持續(xù)增長(zhǎng)帶動(dòng)茶具消費(fèi)持續(xù)增長(zhǎng)。如今茶具是

23、很多企業(yè)新開(kāi)發(fā)的對(duì)象，但是茶具的飛速發(fā)展隱含了很多問(wèn)題：目前的茶具市場(chǎng)無(wú)論是品牌還是產(chǎn)品質(zhì)量都處于魚(yú)龍混雜的狀態(tài)，設(shè)計(jì)師對(duì)茶具的研究深度低、設(shè)計(jì)水平低、產(chǎn)品缺乏創(chuàng)意，滿足不了一些飲茶人的需求，無(wú)法達(dá)到品茶的最高境界。二、研究的基本內(nèi)容，擬解決的主要問(wèn)題 通過(guò)研究茶具的用途、材質(zhì)、色彩、造型以及文化內(nèi)涵來(lái)表現(xiàn)傳統(tǒng)與時(shí)尚共存的現(xiàn)代感家具。不同的材質(zhì)，不同的造型給人的感覺(jué)都是不同的，首先要了解它的材質(zhì)以及各種材質(zhì)的特點(diǎn)；其次就是茶具的各個(gè)名稱，茶具配套，擺設(shè)；還要研究它的藝術(shù)特征：從形態(tài)藝術(shù)、相態(tài)藝術(shù)、神態(tài)藝術(shù)方面去研究。我國(guó)茶具種類繁多，造型優(yōu)美，怎樣在體現(xiàn)它的實(shí)用價(jià)值的同時(shí)讓它又富有藝術(shù)之美，品

24、茶之味？另外，茶具上的花紋也是在茶具設(shè)計(jì)中占一部分的比重，當(dāng)然，紋理的選擇也是在能夠確保茶具的整體協(xié)調(diào)想的大前提下進(jìn)行的，應(yīng)該依據(jù)茶具的整體風(fēng)格來(lái)決定，看看到底是否需要花紋，需要什么樣的花紋具體問(wèn)題具體分析。三、研究步驟、方法及措施 明確以人為核心的基本思路。在實(shí)用性上,體現(xiàn)實(shí)際運(yùn)用時(shí)的先進(jìn)和可靠性，充分應(yīng)用人機(jī)工程學(xué)原理提高產(chǎn)品的人性化，表現(xiàn)出產(chǎn)品服務(wù)人的舒適美，體現(xiàn)服務(wù)于人的設(shè)計(jì)。藝術(shù)性上，用美學(xué)法創(chuàng)造具有造型美、色彩美、質(zhì)感美的新穎產(chǎn)品。體現(xiàn)人、產(chǎn)品、環(huán)境的整體統(tǒng)一。造型上，打破傳統(tǒng)造型。追求自然與人性化。色彩上，選擇清新、寧?kù)o、高雅脫俗的色彩。迎合人們追求現(xiàn)代時(shí)尚的審美心理，增強(qiáng)感染力

25、。功能上，改變產(chǎn)品的不合理性。大小，形狀都會(huì)做出大的改變。 四、研究工作進(jìn)度 1.市場(chǎng)調(diào)研，前期內(nèi)容的收集 2.開(kāi)題報(bào)告，任務(wù)書(shū)，參考文獻(xiàn)的整理 3.草圖的整理與設(shè)計(jì)的大致方案 4.方案的確定與計(jì)算機(jī)圖形的完成 5.模型制作與論文。五、主要參考文獻(xiàn) 中國(guó)茶具設(shè)計(jì) 人民美術(shù)出版社. 2010.茶文化與茶具 四川科學(xué)技術(shù)出版社，2004.齊斯馬克思主義美學(xué)基礎(chǔ) M.北京：中國(guó)文聯(lián)出版社，1985產(chǎn)品形態(tài)契合設(shè)計(jì)研究 張?chǎng)?南京理工大學(xué)品茶館*中國(guó)老茶具典藏圖鑒 郭丹英，王建榮 中國(guó)輕工業(yè)出版社 2011產(chǎn)品創(chuàng)新設(shè)計(jì) 邊守仁 北京理工大學(xué)出版社 2002.茶具 胡小軍 浙江大學(xué)出版社 2003六、指

26、導(dǎo)教師意見(jiàn) 指導(dǎo)教師簽字： 年 月 日七、系級(jí)教學(xué)單位審核意見(jiàn)：審查結(jié)果： 通過(guò) 完善后通過(guò) 未通過(guò) 負(fù)責(zé)人簽字：年 月 日附錄二燕 山 大 學(xué)本科畢業(yè)設(shè)計(jì)（論文）文獻(xiàn)綜述 課題名稱： 茶具 設(shè)計(jì) 學(xué)院（系）： 藝術(shù)與設(shè)計(jì)學(xué)院 年級(jí)專業(yè)： 工業(yè) 設(shè)計(jì) 學(xué)生姓名： 胡永姣 指導(dǎo)教師： 李靜 完成日期：2012年3月14號(hào) 一、課題國(guó)內(nèi)外現(xiàn)狀隨著人們生活水平的逐漸提高，品茶已經(jīng)成為現(xiàn)當(dāng)代人們的一種新的健康的生活態(tài)度和方式。茶具這種盛茶的器皿也慢慢的時(shí)尚起來(lái)?？茖W(xué)技術(shù)的不斷發(fā)展與新材料的開(kāi)發(fā)與應(yīng)用，使茶具加工工藝發(fā)展飛速。設(shè)計(jì)中體現(xiàn)明確以人為核心的基本思路，體現(xiàn)人、產(chǎn)品、環(huán)境的整體統(tǒng)一。中國(guó)市場(chǎng)正在

27、邁向國(guó)際化、邁向全球，在學(xué)習(xí)發(fā)展西方先進(jìn)技術(shù)與文化的同時(shí)發(fā)揚(yáng)中國(guó)的傳統(tǒng)文化，不僅市場(chǎng)更廣闊，中國(guó)的文化也在繼續(xù)傳承。設(shè)計(jì)應(yīng)具有超前意識(shí)，敢于向傳統(tǒng)的設(shè)計(jì)觀念挑戰(zhàn), 勇于沖破習(xí)慣模式。從追求理性規(guī)律、經(jīng)驗(yàn)到重視反常規(guī)、直覺(jué)；從習(xí)慣一個(gè)角度去認(rèn)識(shí)對(duì)象，到多角度、多層次去認(rèn)識(shí)對(duì)象。當(dāng)然，也不能只是單純追求形式上的標(biāo)新立異， 還是要認(rèn)真了解和研究人們的生活需要和審美愛(ài)好， 這樣的陶瓷產(chǎn)品設(shè)計(jì)才符合時(shí)代的要求。從商家的調(diào)查來(lái)看，品牌、價(jià)格、安全是大家最關(guān)心的問(wèn)題，所以企業(yè)在營(yíng)銷過(guò)程中樹(shù)立品牌、定價(jià)合理、攻擊術(shù)依然是其發(fā)展壯大的核心。而從消費(fèi)者的調(diào)查來(lái)看，安全、輕便、耐用、材質(zhì)、造型是其最為關(guān)心的問(wèn)題，然

28、后才考慮到品牌與價(jià)位。二、研究主要成果 本課題站在現(xiàn)代感的角度，從造型上，使用功能上，材質(zhì)上，色彩上，對(duì)現(xiàn)有的茶具進(jìn)行了全面的分析，總結(jié)了一套新的產(chǎn)品設(shè)計(jì)方案。主要表達(dá)的是一款以精神為導(dǎo)向的情感化茶具，來(lái)表達(dá)在喝茶過(guò)程中追求的意境和韻味。造型別致，色彩、色澤協(xié)調(diào)的簡(jiǎn)約風(fēng)茶具。在流線的造型上，高與低的對(duì)比、方與圓的對(duì)比、復(fù)雜的花式和簡(jiǎn)單的基本造型的對(duì)比都要具備獨(dú)特的品味。在設(shè)計(jì)中使用自然元素以給人營(yíng)造一種不一樣的品茶氛圍。讓人盡情享受茶韻。三、發(fā)展趨勢(shì)： 現(xiàn)代簡(jiǎn)約風(fēng)格的清淡與優(yōu)雅是絕大多數(shù)現(xiàn)代人甚是喜歡的直接理由，也正是這股清淡與優(yōu)雅將茶本身的氣質(zhì)與特點(diǎn)表現(xiàn)到恰到好處。將現(xiàn)代簡(jiǎn)約風(fēng)格與茶具越來(lái)越

29、結(jié)合的完美無(wú)瑕。直至今天，隨著科學(xué)技術(shù)的不斷發(fā)展與新材料的開(kāi)發(fā)與應(yīng)用，茶具的加工工藝更是飛速發(fā)展，為設(shè)計(jì)師實(shí)現(xiàn)獨(dú)特創(chuàng)意奠定的基礎(chǔ)。四、存在問(wèn)題 茶具市場(chǎng)大致可概括為幾點(diǎn)：1、一些廠商一味追求外形忽略了它的人機(jī)，例如：壺嘴出水不流暢壺身深，置入或拿出茶葉不方便，壺蓋松，有泥味、雜味等。2、茶具是很多企業(yè)家開(kāi)發(fā)的對(duì)象，生產(chǎn)和銷售專業(yè)化程度低，沒(méi)有品牌支撐，質(zhì)量保證存在制約。3、大多數(shù)的設(shè)計(jì)師對(duì)茶具的研究深度不夠，設(shè)計(jì)水平低。4、沒(méi)有統(tǒng)一的行業(yè)標(biāo)準(zhǔn)，定價(jià)混亂，茶具行業(yè)尚處于產(chǎn)品競(jìng)爭(zhēng)時(shí)代向品牌競(jìng)爭(zhēng)時(shí)代邁進(jìn)階段。五、主要參考文獻(xiàn) 中國(guó)茶具設(shè)計(jì) 人民美術(shù)出版社. 2010.茶文化與茶具 四川科學(xué)技術(shù)出版社

30、，2004.齊斯馬克思主義美學(xué)基礎(chǔ) M.北京：中國(guó)文聯(lián)出版社，1985產(chǎn)品形態(tài)契合設(shè)計(jì)研究 張?chǎng)?南京理工大學(xué)品茶館*中國(guó)老茶具典藏圖鑒 郭丹英，王建榮 中國(guó)輕工業(yè)出版社 2011產(chǎn)品創(chuàng)新設(shè)計(jì) 邊守仁 北京理工大學(xué)出版社 2002.茶具 胡小軍 浙江大學(xué)出版社 2003 指導(dǎo)教師審閱簽字： 年 月 日 燕山大學(xué)畢業(yè)論文評(píng)審意見(jiàn)表指導(dǎo)教師評(píng)語(yǔ)：成績(jī)： 指導(dǎo)教師簽字： 年 月 日評(píng)閱人評(píng)語(yǔ)：成績(jī)： 評(píng)閱人簽字： 年 月 日燕山大學(xué)畢業(yè)論文答辯委員會(huì)評(píng)語(yǔ)表答辯委員會(huì)評(píng)語(yǔ)：總成績(jī)： 答辯委員會(huì)成員簽字： 答辯委員會(huì)主席簽字： 年 月 日為你提供優(yōu)秀的畢業(yè)論文參考資料，請(qǐng)您刪除以下內(nèi)容，O(_)O謝謝！

31、A large group of tea merchants on camels and horses from Northwest China's Shaanxi province pass through a stop on the ancient Silk Road, Gansu's Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and fou

32、r support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cov

33、er about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner M

34、ongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in

35、 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. "I can still recall the days when I toured with the troupe in the early '80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldn&#

36、39;t help but sing the folk songs," Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. "The nomadic people were very excited about our visits," Nasun recalls. "We didn't have a formal stage. The a

37、udience just sat on the grass. Usually, the performances became a big party with local people joining in." For him, the rewarding part about touring isn't just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates

38、 as "red burgeon", and today's performers of the troupe still tour the region's villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijing's Poly Theater. Their show,

39、 titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. "Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged," Nasun, the art troupe's president, who is also a renowne

40、d tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast China's Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid

41、farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people,

42、especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones tha

43、t he writesall while playing the horse-head fiddle."Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root," he says. "Performing in remote villages is pleasant. I feel at home on the boundless

44、grasslands, and the warm people there make me feel fulfilled." The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume an

45、d sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5

46、million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down

47、to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own v

48、alue not due to a revival in the market. "The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of t

49、he market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. "Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the o

50、verall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some

51、 special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.

52、06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disa

53、ppointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of cours

54、e, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after som

55、e modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in China's cultural foray overseas, has been widely panned by its home audience. Retitled Empre

56、sses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficul