佛教藏经八吉祥纹样在现代平面设计中的应用与重构
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摘要
佛教藏经八吉祥历史悠久,含义丰富,但其繁杂的造型和过度的写实限制了发展。为将其推广,适应当代的审美需求,对八吉祥纹样进行研究。全面分析八吉祥纹样,结合其在现代设计中的应用,从纹样的元素、色彩和构成的角度,探究图形的重构原则。在此基础上,对其进行简化提取,利用等分、数比等重构方式进行设计。剖析八吉祥纹样的典型文化内涵,得到重构原则及方法。重构可以在不失本意内涵的前提下将纹样生活化,便于更好地传承。
The eight auspicious symbols of Buddhism have a long history and rich meanings,but their complicated shapes and excessive realism limit their development. In order to popularize the patterns and meet the contemporary aesthetic needs,the eight auspicious symbols of Buddhism were studied.Through a comprehensive analysis of the eight auspicious symbols of Buddhism,combined with its application in modern design,from the point of view of the elements,colors and composition of patterns,research explored the principles of graphic reconstruction. On this basis,patterns were simplified,extracted and reconstructed by means of equalization and ratio reconstruction.Paper analyzed the typical cultural connotation of the eight auspicious symbols of Buddhism,and obtained the principles and methods of reconstruction.Reconstruction can make the pattern life-like without losing its original meaning,which is convenient for better inheritance.
The eight auspicious symbols of Buddhism have a long history and rich meanings,but their complicated shapes and excessive realism limit their development. In order to popularize the patterns and meet the contemporary aesthetic needs,the eight auspicious symbols of Buddhism were studied.Through a comprehensive analysis of the eight auspicious symbols of Buddhism,combined with its application in modern design,from the point of view of the elements,colors and composition of patterns,research explored the principles of graphic reconstruction. On this basis,patterns were simplified,extracted and reconstructed by means of equalization and ratio reconstruction.Paper analyzed the typical cultural connotation of the eight auspicious symbols of Buddhism,and obtained the principles and methods of reconstruction.Reconstruction can make the pattern life-like without losing its original meaning,which is convenient for better inheritance.
引文
[1]李享.论传统吉祥纹样对现代平面设计的影响[J].艺术教育,2018(21):229-230.
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[3]侯婧.传统莲纹的意向性在现代标志设计中的应用研究[D].河北大学,2012.
[4]胡潇文.当代艺术中图案纹样的重构研究[D].西南大学,2016.
[5]纹样艺术研究与应用[J].设计,2017,30(11):25.
[6]何思颖,韩玉婷.盘长纹在标志设计中的运用[J].设计,2017,30(23):66-67.
[7]李肖利,吴祐昕.论中国传统吉祥文化的现代设计价值[J].设计,2017,30(11):42-43.
[2]邹文兵.中国传统吉祥纹样盘长纹艺术符号研究[D].湖南工业大学,2010.
[3]侯婧.传统莲纹的意向性在现代标志设计中的应用研究[D].河北大学,2012.
[4]胡潇文.当代艺术中图案纹样的重构研究[D].西南大学,2016.
[5]纹样艺术研究与应用[J].设计,2017,30(11):25.
[6]何思颖,韩玉婷.盘长纹在标志设计中的运用[J].设计,2017,30(23):66-67.
[7]李肖利,吴祐昕.论中国传统吉祥文化的现代设计价值[J].设计,2017,30(11):42-43.