原真性视角下民族旅游产品视觉设计研究
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摘要
在现代旅游中,旅游主体体验真实性与旅游客体文化保持真实性相辅相成。论文从原真性角度出发,梳理原真性理论的真实内涵,指出当代中国民族旅游既应考虑旅游主体的真实性需求,又不能忽略旅游客体对民族文化保护、传承的初衷。在此基础上,运用符号学理论,指出民族文化的独特性,指明少数民族文化传承的视觉符号路径。通过对石柱县少数民族旅游形象构建的分析,发现民族旅游的形象定位。形象重建应充分考虑独具特色的少数民族视觉符号的提取、转换、创新重构。最后以石柱土家族织锦"西兰卡普"为案例,分析其色彩搭配、图形元素特征,结合现代计算机技术,对其进行旅游产品的创新设计。
In modern tourism, the tourist authenticity experience and the tourist object culture complement authenticity depend on each other. From the view of the authenticity, combs the true connotation of the original truth theory, and points out that the contemporary Chinese famous tourism should not only consider the real needs of the tourism subject, but also can not ignore the original intention of the tourism object to the protection and inheritance of the national culture. On this basis, using semiotics theory, it points out the uniqueness of national culture, and points out the path of visual symbols for the transmission of ethnic cultures. Through the analysis of the construction of national tourism image in Enshi, it is found that the image positioning and image reconstruction of ethnic tourism should take full account of the extraction, transformation and innovation reconstruction of the unique ethnic minority visual symbols. In the end, a case of the brocade of Enshi Tujia brocade "New Zealand Karp" is used as a case to analyze the color collocation and the characteristics of the graphic elements, and combine the modern computer technology to carry out the innovative design of tourism products. The results show that the extraction and conversion of national visual symbols from the perspective of authenticity is of great significance to the innovative design of ethnic minority tourism products.
In modern tourism, the tourist authenticity experience and the tourist object culture complement authenticity depend on each other. From the view of the authenticity, combs the true connotation of the original truth theory, and points out that the contemporary Chinese famous tourism should not only consider the real needs of the tourism subject, but also can not ignore the original intention of the tourism object to the protection and inheritance of the national culture. On this basis, using semiotics theory, it points out the uniqueness of national culture, and points out the path of visual symbols for the transmission of ethnic cultures. Through the analysis of the construction of national tourism image in Enshi, it is found that the image positioning and image reconstruction of ethnic tourism should take full account of the extraction, transformation and innovation reconstruction of the unique ethnic minority visual symbols. In the end, a case of the brocade of Enshi Tujia brocade "New Zealand Karp" is used as a case to analyze the color collocation and the characteristics of the graphic elements, and combine the modern computer technology to carry out the innovative design of tourism products. The results show that the extraction and conversion of national visual symbols from the perspective of authenticity is of great significance to the innovative design of ethnic minority tourism products.
引文
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[3]黄鹏.景宁畲族文化遗产保护与旅游开发研究[D].广西师范大学,2017.
[4]张晓萍.民族旅游的人类学透视[M].昆明:云南大学出版社,2005.
[5]邓爱民,张馨方.西方旅游本真性研究的知识图谱——基于Cite SpaceⅢ的计量分析[J].旅游学刊,2018,(1).
[6]黄晨晨.后现代主义视角下旅游目的地选择行为的解读[J].2014,(7).
[7]焦彦,徐虹,徐明.游客对商业性家庭企业的住宿体验:从建构主义真实性到存在主义真实性——以台湾民宿住客的优质体验为例[J].人文地理,2017,(6).
[8]王铭玉,阳树英,符号语言学[M],上海:上海外语教育出版社,2005.
[9]张宪荣.设计符号学[M].北京:化学工业出版社,2004.
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[13]陈彦青.作为设计方法的视觉符号学及其表现[J].新美术,2016,(11).