中国古代青铜器纹样在现代平面设计中的应用研究
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摘要
中国是有着五千年悠久历史的文明古国,传统文化博大精深,青铜器作为我国传统艺术的重要代表之一,具有极高的实用价值和艺术价值,在青铜艺术中,装饰纹样占有很重要的地位,是具有特殊意义的符号,对后来的中国文化及艺术产生了深远的影响。
青铜器纹样在传统艺术传承中有着特殊的地位和价值,它的发展主要经历了夏、商、周三个历史时期,经过各个历史时期的承传流变,在整个演进过程中以其独特的艺术魅力,逐渐沉淀成一种代表中国传统文化象征的符号,极大地影响了中国现代平面设计理念。青铜器纹样有着几千年的悠久历史,而现代平面设计在我国仅有几十年的光阴,对于现代平面设计而言,继承青铜器纹样的优秀传统,吸收它的文化内涵也是一种创新。
目前有关青铜器纹样在现代平面设计应用方面的理论研究很少,这是有待于加强的一个领域。现有的一些著作、文章和论文,不是泛泛而谈,就是简单的介绍,大家引用的案例、纹样大多也是雷同,缺少整体性和深入性的研究,更没有系统综合性的研究那些青铜器纹样在现代平面设计中被应用及对这种应用设计手法的总结。
本文在吸收借鉴前人研究成果的基础上,对中国古代青铜器纹样作了系统分析研究,从青铜器纹样中“永恒不变的美”(中国古代青铜器纹样中的装饰美、程式美、自然美)探讨了青铜器纹样的审美特征,并通过中国古代青铜器纹样在现代平面设计中的应用实例分析,谈论了其在现代平面设计中的应用方式,并分析了它在现代平面设计中的升华,以此说明在现代社会中我们应该如何应用古代青铜器上的优秀纹样,并正确地表达我们所设计物品的内在涵义。从而发展具有中国特色的和展示中华民族文化价值和意义的设计体系,使其在现代平而设计中继续民族文化、地域文化的弘扬与传承。
China is a country with an ancient civilization which has a long history of 5000 years and its traditional culture is broad and profound. As one of the most important representatives of the traditional art of our country, the bronze has very high practical value and artistic value. The decorative pattern is a symbol of particular significance and occupies a very important position in the bronze art, it has a profound impact on the later Chinese arts and culture.
The bronze pattern has a special status and value in traditional art, its development mainly experienced the three historical periods of Xia, Shang and Zhou Dynasty. After the various historical periods of inheritance rheology, the bronze pattern gradually settled into a symbol of representing traditional Chinese culture with its unique artistic charm in the whole process of evolution and greatly influenced Chinese modern graphic design. Bronze patterns have a long history of thousands of years, while modern graphic design has only a few years in China. To the modern graphic design, we inherit excellent tradition of the bronze pattern and absorb its cultural connotation is also a kind of innovation.
The theoretical research on bronze patterns in modern graphic design application is little, it is yet to be strengthened in a field. Some of the existing books, articles and papers are not speak generally or simply introduced, and most of the cases and designs also are same. People lack overall and thorough research and systematic comprehensive research those bronze patterns in modern graphic design and the application design summary.
On the basis of previous studies, the paper made systematic analysis and research on the ancient Chinese bronzes patterns. From the" eternal beauty" in the bronze patterns (the decorative beauty, program beauty, natural beauty and image beauty in ancient Chinese bronze patterns), the paper discussed the aesthetic characteristics of bronze patterns in graphic design and talked about the application mode of ancient Chinese bronze patterns in modern graphic design. By analyzing the case of the sublimation of ancient Chinese bronzes patterns in modern graphic design, the paper explained that we should how to apply correctly good patterns on ancient bronzes in modern society, and how to express what we design things inherent meaning. Thus we should develop the design system with Chinese characteristics and can display the Chinese national cultural value and significance.
青铜器纹样在传统艺术传承中有着特殊的地位和价值,它的发展主要经历了夏、商、周三个历史时期,经过各个历史时期的承传流变,在整个演进过程中以其独特的艺术魅力,逐渐沉淀成一种代表中国传统文化象征的符号,极大地影响了中国现代平面设计理念。青铜器纹样有着几千年的悠久历史,而现代平面设计在我国仅有几十年的光阴,对于现代平面设计而言,继承青铜器纹样的优秀传统,吸收它的文化内涵也是一种创新。
目前有关青铜器纹样在现代平面设计应用方面的理论研究很少,这是有待于加强的一个领域。现有的一些著作、文章和论文,不是泛泛而谈,就是简单的介绍,大家引用的案例、纹样大多也是雷同,缺少整体性和深入性的研究,更没有系统综合性的研究那些青铜器纹样在现代平面设计中被应用及对这种应用设计手法的总结。
本文在吸收借鉴前人研究成果的基础上,对中国古代青铜器纹样作了系统分析研究,从青铜器纹样中“永恒不变的美”(中国古代青铜器纹样中的装饰美、程式美、自然美)探讨了青铜器纹样的审美特征,并通过中国古代青铜器纹样在现代平面设计中的应用实例分析,谈论了其在现代平面设计中的应用方式,并分析了它在现代平面设计中的升华,以此说明在现代社会中我们应该如何应用古代青铜器上的优秀纹样,并正确地表达我们所设计物品的内在涵义。从而发展具有中国特色的和展示中华民族文化价值和意义的设计体系,使其在现代平而设计中继续民族文化、地域文化的弘扬与传承。
China is a country with an ancient civilization which has a long history of 5000 years and its traditional culture is broad and profound. As one of the most important representatives of the traditional art of our country, the bronze has very high practical value and artistic value. The decorative pattern is a symbol of particular significance and occupies a very important position in the bronze art, it has a profound impact on the later Chinese arts and culture.
The bronze pattern has a special status and value in traditional art, its development mainly experienced the three historical periods of Xia, Shang and Zhou Dynasty. After the various historical periods of inheritance rheology, the bronze pattern gradually settled into a symbol of representing traditional Chinese culture with its unique artistic charm in the whole process of evolution and greatly influenced Chinese modern graphic design. Bronze patterns have a long history of thousands of years, while modern graphic design has only a few years in China. To the modern graphic design, we inherit excellent tradition of the bronze pattern and absorb its cultural connotation is also a kind of innovation.
The theoretical research on bronze patterns in modern graphic design application is little, it is yet to be strengthened in a field. Some of the existing books, articles and papers are not speak generally or simply introduced, and most of the cases and designs also are same. People lack overall and thorough research and systematic comprehensive research those bronze patterns in modern graphic design and the application design summary.
On the basis of previous studies, the paper made systematic analysis and research on the ancient Chinese bronzes patterns. From the" eternal beauty" in the bronze patterns (the decorative beauty, program beauty, natural beauty and image beauty in ancient Chinese bronze patterns), the paper discussed the aesthetic characteristics of bronze patterns in graphic design and talked about the application mode of ancient Chinese bronze patterns in modern graphic design. By analyzing the case of the sublimation of ancient Chinese bronzes patterns in modern graphic design, the paper explained that we should how to apply correctly good patterns on ancient bronzes in modern society, and how to express what we design things inherent meaning. Thus we should develop the design system with Chinese characteristics and can display the Chinese national cultural value and significance.
引文
[1]上海博物馆青铜器研究组.商周青铜器纹饰[M].北京：新华书店北京发行所,1984-5：30.
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[4]顾方松.凤鸟图案研究[C].上海：浙江人民美术出版社,1984.6
[5]章利国.现代设计美学[M].河南：河南美术出版社,2007.
[6]陈汉民.陈汉民标志艺术[M].哈尔滨：黑龙江美术出版社,1993.126
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[8]祝帅.中国文化与中国设计十讲[M].北京：中国电力出版社,2008
[9]李祖定.中国传统吉祥图案[M].上海：上海科学普及出版社,1989.
[10]吴山.中国历代装饰纹样[M].北京：人民美术出版社,1988.
[11](美)E.潘诺夫斯基.视觉艺术的含义[M].沈阳：辽宁人民出版社.1987.
[12]张雪.标志设计新趋向[M].重庆：重庆出版社,2001.
[13]周海清,安吉乡.标志设计[M1.长沙：中南大学出版社.2004.
[14]张立,冯越峰.标志设计教程[M].北京：中国纺织出版社.2009.
[15]唐星明.装饰文化轮纲[M].重庆：重庆大学出版社,2006：28
[16]王家树.中国工艺美术史[M].北京：文化艺术出版社,2008：56
[17]翁剑青.形式与意蕴[M].北京：北京大学出版社,2006：23-24
[18]任法融.和谐世界以道相通[M].中国道教,2007.
[19]叶朗.中国美学史大纲.第13版[M].上海：上海人民出版社,2008.
[20]刘赞爱,刘婷.传统艺术对现代设计的启示[J].装饰.北京,2006：21.
[21]唐家路.中国龙纹图谱[M].北京：北京工艺美术出版社,2005.
[22]韩养民.秦汉文化史[M].西安：陕西人民教育出版社,1986.
[23]徐雯.中国云纹装饰[M].南宁：广西美术出版社,2007.
[24]徐华.两汉艺术精神嬗变论[M].上海：学林出版社,2007.
[25]徐华铛.中国龙凤艺术[M].天津：天津人民美术出版社,2007.
[26]冯晓红.论现代艺术设计与传统文化的关系[J].装饰,2006：16-17
[27]易心,朱吉虹.传统图徽对当代标志本土设计理念的启示[J].装饰,2007.5.
[28]朱琪颖.论现代标志设计的传统文化艺术继承[J].包装工程,2007.3.
[29]李小红.浅谈传统图案在标志设计中的运用[J].美术大观,2007.1.
[30]张建国.中国人“龙”崇拜的心理分析[J].黄石教育学院学报,2006.12.
[31]张立.中国传统图形艺术与现代标志设计[J].美与时代,2005.1.
[32]幻唐潇.浅析现代标志与传统图形的结合[J].新美术,2005.1.
[33]孙也濮.云纹在现代设计中的运用价值与研究[D].上海.上海师范大学,2010：33.
[34]曹英.龙纹图案在标志设计中的应用初探[D].武汉.武汉理工大学,2010：39.
[35]成欢欢.青铜器纹饰探究与其对现代设计的启示[D],吉林.东北师范大学,2004：11-12.
[36]刘春侠.中国传统龙纹在现代标志设计中的应用[D],武汉.华中师范大学,2008：6-8.
[37]冯晓娟.民族图形的国际化研究[D].江南大学,2004.6.
[38]朱凤瀚.中国青铜器综述(上)[M].上海：上海古籍出版社.2009.
[39]T. ALTSTIEL,J. M. GROW, Adverising creative[M]. sage publications,2007
[40]JOSEPH NEEDHAM, the shorter science civilisation in china[J]. shanghai people' s publishinghouse,2008:7.
[41H. G BROCK, American,Modern art and philosophy[M]. sichuan people's publishing house,2001.
[2]邵大地.青铜装饰纹样选[M].天津：天津人民美术出版社,1984-5：1-2.
[3]张光直.中国青铜时代[C].北京：生活·读书·新知三联书店,1983-9：315.
[4]顾方松.凤鸟图案研究[C].上海：浙江人民美术出版社,1984.6
[5]章利国.现代设计美学[M].河南：河南美术出版社,2007.
[6]陈汉民.陈汉民标志艺术[M].哈尔滨：黑龙江美术出版社,1993.126
[7]薄松年.中国美术史教程[J].西安：山西人民美术出版社,2000-1：19.
[8]祝帅.中国文化与中国设计十讲[M].北京：中国电力出版社,2008
[9]李祖定.中国传统吉祥图案[M].上海：上海科学普及出版社,1989.
[10]吴山.中国历代装饰纹样[M].北京：人民美术出版社,1988.
[11](美)E.潘诺夫斯基.视觉艺术的含义[M].沈阳：辽宁人民出版社.1987.
[12]张雪.标志设计新趋向[M].重庆：重庆出版社,2001.
[13]周海清,安吉乡.标志设计[M1.长沙：中南大学出版社.2004.
[14]张立,冯越峰.标志设计教程[M].北京：中国纺织出版社.2009.
[15]唐星明.装饰文化轮纲[M].重庆：重庆大学出版社,2006：28
[16]王家树.中国工艺美术史[M].北京：文化艺术出版社,2008：56
[17]翁剑青.形式与意蕴[M].北京：北京大学出版社,2006：23-24
[18]任法融.和谐世界以道相通[M].中国道教,2007.
[19]叶朗.中国美学史大纲.第13版[M].上海：上海人民出版社,2008.
[20]刘赞爱,刘婷.传统艺术对现代设计的启示[J].装饰.北京,2006：21.
[21]唐家路.中国龙纹图谱[M].北京：北京工艺美术出版社,2005.
[22]韩养民.秦汉文化史[M].西安：陕西人民教育出版社,1986.
[23]徐雯.中国云纹装饰[M].南宁：广西美术出版社,2007.
[24]徐华.两汉艺术精神嬗变论[M].上海：学林出版社,2007.
[25]徐华铛.中国龙凤艺术[M].天津：天津人民美术出版社,2007.
[26]冯晓红.论现代艺术设计与传统文化的关系[J].装饰,2006：16-17
[27]易心,朱吉虹.传统图徽对当代标志本土设计理念的启示[J].装饰,2007.5.
[28]朱琪颖.论现代标志设计的传统文化艺术继承[J].包装工程,2007.3.
[29]李小红.浅谈传统图案在标志设计中的运用[J].美术大观,2007.1.
[30]张建国.中国人“龙”崇拜的心理分析[J].黄石教育学院学报,2006.12.
[31]张立.中国传统图形艺术与现代标志设计[J].美与时代,2005.1.
[32]幻唐潇.浅析现代标志与传统图形的结合[J].新美术,2005.1.
[33]孙也濮.云纹在现代设计中的运用价值与研究[D].上海.上海师范大学,2010：33.
[34]曹英.龙纹图案在标志设计中的应用初探[D].武汉.武汉理工大学,2010：39.
[35]成欢欢.青铜器纹饰探究与其对现代设计的启示[D],吉林.东北师范大学,2004：11-12.
[36]刘春侠.中国传统龙纹在现代标志设计中的应用[D],武汉.华中师范大学,2008：6-8.
[37]冯晓娟.民族图形的国际化研究[D].江南大学,2004.6.
[38]朱凤瀚.中国青铜器综述(上)[M].上海：上海古籍出版社.2009.
[39]T. ALTSTIEL,J. M. GROW, Adverising creative[M]. sage publications,2007
[40]JOSEPH NEEDHAM, the shorter science civilisation in china[J]. shanghai people' s publishinghouse,2008:7.
[41H. G BROCK, American,Modern art and philosophy[M]. sichuan people's publishing house,2001.
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