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1、高等教育自学考试毕业论文 茶坊设计中民族文化元素的运用市 地 专 业 室内设计（本） 姓 名 准考证号 答辩成绩 主考院校（盖章） 二一五年四月十日目 录中文摘要英文摘要第1章 概 述/11.1 茶坊设计中运用民族文化元素的目的/11.2 茶坊设计中运用民族文化元素的意义/11.3 课题背景简介/1 第2章 茶坊的历史发展/22.1 古代的茶坊/22.2 现代的茶坊/3第3章 如何在茶坊设计中运用民族文化元素/43.1 民族文化元素运用之空间布局/43.2 民族文化元素运用之装饰风格/43.3 民族文化元素运用之色彩搭配/4第4章 茶坊的发展定位/54.1 茶坊的目标人群/54.2 茶坊的市场
2、预测/5第5章 结束语/6致谢/6参考文献/7茶坊设计中民族文化元素的运用摘 要随着国家经济的快速发展，人们在满足物质追求的基础上，越来越重视精神文化层次的需求。中国自古以来的茶文化时刻渗透在人们的日常生活，品茶、吃茶、采茶等不仅丰富了人们的业余生活，也使人们的生活更具典雅精致。茶坊也越来越受到人们的追捧与喜爱。现如今，人们的爱国意识普遍增强，对民族文化的认同感显著提高。茶文化与民族文化相互交融，相辅相成，体现在茶坊设计中对民族文化元素的运用。一方面可以为茶坊设计添彩，另一方面可以增强人们的爱国情怀。通过运用民族文化元素对茶坊的设计从而达到弘扬民族精神的初衷。 关键词 ： 茶坊、设计、精神需求
3、、民族文化元素ABSTRACT With the rapid development of national economy, people on the basis of meet the pursuit of, pay more and more attention to spiritual and cultural level of demand. Time since the ancient times the Chinese tea culture infiltration in Peoples Daily life, tea, tea, tea plucking not only
4、enrich the people spare life, also make peoples lives more elegant. Tea is becoming more and more sought after and loved by the people. Nowadays, peoples patriotic consciousness generally increased, the national cultural identity has increased dramatically. Tea culture and national culture blend mut
5、ually, complement each other, reflected in the tea lane in the design of the use of elements of national culture. On the one hand, can be designed for the tea color, on the other hand, can strengthen peoples patriotism. Through the use of national culture elements to the design of tea so as to carry
6、 forward the national spirit in the first place.KEY WORDS ： Tea、Design、Spiritual needs、National culture elements 第1章 概述1.1 茶坊设计中运用民族文化元素的目的在国家经济快速发展的前提下，人们的物质生活日益丰富。精神文化层次的追求越来越被人重视，休闲安逸的生活节奏越来越被人所认可。茶坊是集娱乐、休闲、商务、聚会等特点的场所，逐步成为人们娱乐休闲，朋友聚会，商务洽谈的首选之地。伴随着人们爱国意识的增强，民族文化元素的运用普遍受到人们的热衷。茶坊设计中运用民族文化元素，更加契合了人
7、们的精神追求，在生活休闲的同时，深切感受到中华文化的博大精深，增强人们的民族文化荣誉感。1.2 茶坊设计中运用民族文化元素的意义 因此，在茶坊设计中加入民族文化元素，更容易被人们接受，增强国人自豪感及民族认同感。茶文化与民族文化相结合，符合时代主题，对中华民族文化的弘扬和传承具有深远意义。1.3 课题背景简介 中国有着连续不断的几千年的文明史，在发展中融合了许多外来文化元素。古老而深厚的中华文化，不仅影响着人口众多的中华民族，对世界文化特别是中国周边的许多国家和民族文化的发展都产生了深远的影响。中国艺术与艺术设计的风格就在于它的民族文化性，中华民族文化的体现最为根本的是要找到它的根源，可以说世
8、界范围内的所有艺术作品之所以获得成功，就在于“固本”，根深者方能枝繁叶茂和日益壮大。现代艺术设计在形式上的共性是追求“时尚”，追求新与奇的视觉效果，体现出时代的审美崇尚与审美追求。对民族文化艺术历史的透视中华民族文化博大精深、源远流长，长期的审美实践，创造了数不胜数的物化的文明成果和艺术设计精品，在保留至今的中华传统文化艺术作品中，有先秦时期的岩画、陶器、青铜器皿，秦汉的漆器，六朝的石画、敦煌石窟的壁画，元代以来的瓷器、版画，有遍布各地的“图腾”崇拜、宗教塑像、服装饰品、钱币以及各个时期的书法绘画等等，琳琅满目、纷繁复杂、千姿百态。但是，站在历史的高度和视觉来看，就其源流来讲，有几点是十分明确
9、的。其一，中华传统文化艺术的发生发展，既一脉相承，又在各个不同时期有其流变特点和风格。其二，就艺术设计的角度来看，所有的物化作品，无一不是在“用”与“美”上的完美统一，其造型、图案、线条、色彩，既有其深刻的时代审美崇尚，又反映了各个朝代的时代背景与 艺术风格。其三，从众多的民族历史文化艺术精品中可以看出，有一条主线始终贯穿其中，那就是“和谐”、“韵味”、“灵性”、“意境”的审美思想观念和审美追求，体现出时代先进的技术手段与审美思想和审美崇尚的有机统一这一基本规律。茶坊，并不单单是饮用茶水的地方，不同风格的茶坊，来说明新型茶坊是一个什么样的概念，它的设计风格在古老的传统和最前卫、最现代的形象之间
10、摇摆。对茶坊进行必要的装饰，有助于营造温馨的感觉，使生意更兴隆。但茶坊的装饰应该以简约为主，不宜使用反光强的材料或者雕刻复杂的图形，否则会给人浮躁的感觉。茶坊的装饰只有被顾客喜欢才是成功的装饰。综上所述：茶坊设计可以运用很多民族文化艺术元素在里面，从而不失时尚艺术性。随着人民对中华民族传统文化的关注以及一点点的加深，很多人开始对民族艺术元素很感兴趣。第2章 茶坊的历史发展2.1 古代的茶坊根据中国古典典籍记载，茶馆最早出现在唐朝开元年间（713年 - 741年），称为茗铺。宋朝时期，茶馆在杭州被称为茶肆，个别茶肆配有专门教授富家子弟的乐器班、歌唱班。明朝开始出现私家园林。据张岱所著陶庵梦忆露兄
11、写道：“崇祯癸酉，有好事者，开茶馆”。可以看出，茶馆一词，最早出现在明朝。清代茶馆发展成为大众娱乐场所。京师茶馆，有清茶馆、大茶馆、书茶馆、酒茶馆和园林茶馆等几种。乾隆末年江南有河滨茶馆，同治年间，开始出现上海茶馆，到了光绪丙子上海有了广东茶楼,不久上海还出现东洋茶馆。苏州茶馆除了喝茶、品尝点心外，还可以欣赏“大书”和“小书”。2.2 现代的茶坊改革开放以后，曾经一度萎靡不振的中国茶馆业重新焕发了生机，不仅老茶馆、茶楼重放光彩，各种新型、新潮茶园和茶艺馆更如雨后春笋般涌现全国各地，随着茶馆产业化的发展，进入新世纪的中国茶馆更是迎来了她的春天。如今，全国5万多家大大小小的各色茶馆拥有从业人员近百
12、万，年创造产值达300亿元，茶馆业已经成为拉动我国经济发展的新增长点。近年来，茶馆业发展迅速，在北京、上海、广州、成都等地，茶馆、茶坊已成为地方文化的一种标识，各种以茶为名的饮品店更是层出不穷。据不完全统计目前全国约有5万多家茶馆，以北京、上海、成都最多，仅上海就有3000家左右。品茗之风盛行的北京同时也是茶叶消费增长最快的城市之一，目前北京有6000多家茶叶店，茶馆、茶楼、茶坊也有3000余家。俗话说，“开门七件事，柴米油盐酱醋茶”，可见茶在人们日常生活中的地位。中国茶馆将随着近几年的发展逐步走向标准化、产业化。随着茶馆经营服务规范（SB/T10654-2012）行业标准于2012年6月1日
13、正式实施。此项标准是由商业饮食服务业发展中心负责起草，从制度规范、从业人员的基本条件、职业道德、服务操作、卫生要求等几个方面做出了详细规定，它的颁布填补了茶馆行业在标准规范上的空白，有利于对茶馆行业进行管理和指导以及茶馆企业进行标准化经营。第3章 如何在茶坊设计中运用民族文化元素3.1 民族文化元素运用之空间布局 随着茶坊成为人们消费的重要支出，茶坊的设计风格应该沿袭传统古文化风格。那么在空间布局方面，民族文化元素是如何运用到茶坊设计中呢？根据北京“老舍茶馆”的空间布局上不难看出茶馆的民族文化气息浓郁。老舍茶馆，陈设古朴、典雅，京味十足。大厅内整齐排列的八仙桌、靠背椅、屋顶悬挂的一盏盏宫灯、柜
14、台上挂着标有龙井、乌龙等各式名茶的小木牌，以及墙壁上悬挂的书画楹联，使游客感觉如同进入一座老北京的民俗博物馆。在空间布局上采用中国古典文学著作中出现频率较高的客栈、茶楼、棋社、赌场等相互采纳，相互结合的一种设计方式。字、画的运用更增添茶坊的古朴典雅。中国画之所以富有极强的装饰性，常被用于装饰茶坊空间。吉祥图案的运用是采用及其含蓄的手法，以富有寓意的动物或者植物为基本内容组成的图案或者纹样。在商代开始运用，明清时期开始盛行，到如今，吉祥图案在茶坊设计的空间布局上也出现较高频率。3.2 民族文化元素运用之装饰风格茶坊的装饰风格应考虑到茶坊的实用性及休闲特征。采用古风朴素的装饰风格更有利于让顾客直观
15、感受到中国的茶文化。进门采用古代屏风，走廊小桥流水设计，两侧悬挂中国画，体现中国人“天人合一”的观念。室内绿化，一草一木蕴含中国风水之道，使人感到清风拂面，心旷神怡。然而茶坊的装饰应该以简约朴素为主，不宜使用反光强的材料或者雕刻复杂的图形，否则会给人浮躁的感觉。茶坊的装饰只有从顾客的角度出发，让顾客感受到舒适温馨才是最好的装饰。3.3 民族文化元素运用之色彩搭配茶坊的装饰应该选用柔和温馨、简单朴素的色彩来体现民族文化元素。灯光对于茶坊的色彩来说占据重头戏。茶坊对灯光的照明度要求不是太高，也不用彩灯，茶坊灯光以人员能够正常活动为照明度标准就可以。可以选择暖光为主，配以温馨简洁的灯具，为顾客打造一
16、个温馨、舒适、私密的休闲时光。第4章 茶坊的发展定位4.1 茶坊的目标人群茶坊消费体现着社会身份，反映着社会阶层分化。现在，高坊茶楼成了商人、政府官员和其他收入较高的人议事、消遣、赌博的地方，环境、品位、礼仪高度商品化，使大多数平民不能认同。根据车韵飞的问卷、访谈和观察等方法获得的，关于职业这一指标的数据，在样本量为40（虽然样本量较小，但是性别、年龄等都可控）的被调查者（茶客）中，茶客职业比例：茶坊的消费人群退休人员占10%，公务员、干部占2.5%，企事业管理人员占10%，企事业职工占17.5%，个体户、私营企业主占55%，其他占5%。4.2 茶坊的市场预测陆学艺认为，在当代社会中，职业的身
17、份分类是一种最基本的社会性区分，从事不同职业的人，在收入、声望、教育、权利等方面都存在着差异，因而职业的分类与社会分化紧密相关。那么，根据前边茶坊的目标人群统计可以将茶坊分为大众型和高端型两类，分别针对不同的消费对象。茶坊消费作为一种社会实践行为的同时，也承担着身份建构的任务。“消费什么（低劣的三花茶叶还是高档的毛峰），在哪消费（低档茶坊还是高档茶坊），如何消费（单纯饮茶聊天还是饮茶唱歌按摩一系列消费），决定了你就是什么（低阶层还是高阶层）”，就如鲍德里亚认为“现代消费的本质并不是物的客观性，而是差异的构建”，也如泰勒提出的，认同的一个关键要素：“定义自我意味着找到我与他人的差异中哪些是重要的
18、有意义的”。从这一点出发，允许差异化存在，针对不同对象制定发展策略对茶坊的未来发展具有参考意义。第5章 结束语经过一个多月的努力，完成了茶坊的设计。在设计的过程中难免遇到各种各样的问题，在王东辉老师的悉心指导下，我不断地学习完善自己。回顾创作过程，从开始对茶坊的初步了解到最后完成茶坊的设计，我深刻意识到市场调研与社会实践重要性。“实践是检验真理的唯一标准”。只有经过了实践的设计才是最有用的设计。总地来说，茶坊的设计要充分运用民族文化元素。作为当代的设计从业人员如何让中国传统元素与现代设计达到圆满融合,从而让中国民族文化元素得到更好的发扬,这既是一种应战也是一种不可推脱的义务。致 谢首先，我要感
19、谢我的指导老师王东辉。从最初的选题，到定题，再到完成设计。王冬辉老师给我提供了耐心的指导和无私的帮助，使我在本次设计中学到了很多知识。在此，我衷心地感谢王东辉老师。其次，我要感谢我的母校，感谢艺术学院的全体老师们。你们的无私奉献，敬业精神不仅让我学到了专业知识，更让我懂得了如何做人。在此，我作为一名将要毕业的学生，表示我最真诚的感谢。最后，感谢曾经帮助我、鼓励我的所有人。谢谢你们。参考文献1.张建羽.美术教育研究J.2012.16.054.2.王笛.茶馆.M.北京.社会科学文献出版社.2010.3.乙力.中国传统吉祥图案.M.兰州.兰州大学出版社.2004.4.陈原川.中国元素设计.M.北京.
20、中国建筑工业出版社.2010.5.车韵飞.成都茶馆C.郑也夫.消费的秘密.上海.上海人民出版社.2007.6.吕卓红.川西茶馆.作为公共空间的生成和变迁J.民间文化论坛.2005.3.2535.7.张先德.茉莉花茶浸润的悠闲人生.C.近五十年的私人记忆.成都.四川文艺出版社.1999.53.8.泰勒.现代性之隐忧M.北京.中央编译出版社.2001.41. 您好，为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi pro
21、vince pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will
22、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 cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is
23、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 Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musici
24、ans, 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 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 show
25、s 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 couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment opt
26、ions for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about
27、touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around t
28、he world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, 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
29、 member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned 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
30、Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid 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 troup
31、e has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, 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, joine
32、d the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that 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
33、 says. Performing in remote villages is pleasant. I feel at home on the boundless 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 p
34、ainting fetched more than 100 million yuan, the decline in trading volume and 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 2
35、79 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 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 mill
36、ion yuan in total sales, experienced the same. The section number went down 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 pie
37、ces of Chinese painting notched up high price this spring due to their own value 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
38、 high price. Chinese painting and calligraphy is still the pillar of the 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
39、certain changes to the direction of purchasing. In a word, the overall 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
40、 to invigorate the art market.” Even so, the hot pursuit of some 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 Sham
41、ar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 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 dec
42、line of auction sessions. There was a palpable dull thud of disappointment 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
43、high ground of the North American market. Zhen Huan is, of course, 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 t
44、he United States, was going to air it in North America after some 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 Chinas cultural foray overseas,
45、has been widely panned by its home audience. Retitled Empresses 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-styl
46、e 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 difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the
47、 plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is cu
48、lturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese