论东方设计
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摘要
东方设计是根源于东方文化与东方哲学而建立的设计模式与设计理念,这一概念的提出是为了将当前现代设计行业中关注力度不够或关注角度有限的东方哲学与理念充分地弘扬出来,并对其加以系统化的梳理、定位和阐释,使得更多的设计作品有借鉴东方哲学观念和文化资源的途径。东方设计作为一种物质文化类型的设计系统,在传统造物经验、审美意象塑造、艺术品评法则等方面彰显了对先人设计传统承续的历史文脉。具有天地人和谐合一的宇宙观和环境观,取象譬类、长于拟物的造物观念,简洁含蓄、以小见大、少以见多的风格追求等特征,设计作品创意自然,原生取材,精工细作,含蓄典雅。东方设计需要在不断汲取东方文化营养与民族设计元素的前提下推陈出新,与世界多元文化相交融,使东方设计理念成为一种世界性的设计观念。东方设计的过程与结果既来自于东方,又适用于世界。
Oriental design, defined as a concept and model based on the oriental culture and philosophy, arises from the need to vigorously promote the oriental thinkings that has not yet received extensive attention in the modern design industry. It contributes to the summarization, positioning, and explanation of these thinkings in a systematic way so as to provide more opportunities for the future design work to learn from the oriental philosophy and cultural resources. As a material culture system, the oriental design shows the historic inheritance in the respects of traditional design experience, aesthetic image building and art evaluation. The characteristics of the oriental design include the design vision of harmony among heaven, earth and man, the design ideas by means of image and analogy and the design style of showing fineness in details, and the design work can display the beauty of nature, delicacyas well as elegance with these characteristics. Benefiting from the oriental culture and ethnic features, the oriental design should keep on sustaining innovations and integrating with the multiple cultures of the world because the processes and results of it not only come from the orient, but can also be greatly applied in the range of the world.
Oriental design, defined as a concept and model based on the oriental culture and philosophy, arises from the need to vigorously promote the oriental thinkings that has not yet received extensive attention in the modern design industry. It contributes to the summarization, positioning, and explanation of these thinkings in a systematic way so as to provide more opportunities for the future design work to learn from the oriental philosophy and cultural resources. As a material culture system, the oriental design shows the historic inheritance in the respects of traditional design experience, aesthetic image building and art evaluation. The characteristics of the oriental design include the design vision of harmony among heaven, earth and man, the design ideas by means of image and analogy and the design style of showing fineness in details, and the design work can display the beauty of nature, delicacyas well as elegance with these characteristics. Benefiting from the oriental culture and ethnic features, the oriental design should keep on sustaining innovations and integrating with the multiple cultures of the world because the processes and results of it not only come from the orient, but can also be greatly applied in the range of the world.
引文
[1]郑巨欣.东方研究与设计之思考[J].新美术,2015,(04):5-6.
[2]黄仁明.浅析平面设计中的“新东方主义”[J].大众文艺,2015,(12):103.
[3]李晓鲁,张媛.新东方主义在电影服饰设计中的价值体现[J].赤子,2014,(24):110.
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[7]王杨.室内设计中东方元素传承与创新[J].科技信息,2010,(17):894.
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[15]张豪.东方哲学在工业产品设计中的应用分析[J].设计,2014,(4):190.
[16]刘雪丹.浅议设计美学的东方人文价值[J].建筑与文化,2014,(1):201-205.
[17]王丽君.新东方美学的神思与神行——叶锦添的艺术创作境界与《太极》的造型设计[J].电影艺术,2012,(6):149-152.
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[21]傅熹年.傅熹年建筑史论文选[M].天津:百花文艺出版社,2009:1.
[22]李萌.风从东方来——“中国风”设计述评[J].艺术科技,2014,(12):278.
[23]方海.“东方”“东方设计”与“新中国主义”[J].新美术,2015,(04):6-8.
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[25](宋)朱熹集注,赵长征点校.诗集传.[M]北京:中华书局,2011:107.
[26](唐)欧阳询撰.汪绍楹校.艺文类聚.四[M]上海:上海古籍出版社,1982:72.
[27](宋)范成大《吴船录》,转引自.顾宏义,李文整理标校.宋代日记丛编三.[M]上海:上海书店出版社,2013:838-839.
[28](元)王祯撰;缪启愉,缪桂龙译注.农书译注.上[M]济南:齐鲁书社,2009:634.
[29](明)计成著,陈植注释.园冶注释[M].北京:中国建筑工业出版社,1988:210.
[30](明)文震亨,屠隆撰.陈剑点校.长物志考槃余事[M].杭州:浙江人民美术出版社,2011:88-89.
[31]陈建群撰.袁枚散文选精注译[M].昆明:晨光出版社,2006:112.
[32]鲁迅.鲁迅全集.第十三卷[M],北京:人民文学出版社2005:81.
[2]黄仁明.浅析平面设计中的“新东方主义”[J].大众文艺,2015,(12):103.
[3]李晓鲁,张媛.新东方主义在电影服饰设计中的价值体现[J].赤子,2014,(24):110.
[4]魏笑.浅谈新东方主义与本土化设计[J].山东社会科学,2013,(12):21-22.
[5]王洁非.走向西方,回归东方——浅议东方元素在现代设计中的表现[J].艺术与设计(理论),2009,(5X):11-12.
[6]金艳,宋魁友.东方设计美学对现代设计的影响——留白手法在现代设计中的运用[J].艺术科技,2013,(1):127.
[7]王杨.室内设计中东方元素传承与创新[J].科技信息,2010,(17):894.
[8]李娜.论东方文化在现代室内设计中的融合[J].现代装饰(理论),2012,(01):25.
[9]张冬蕾,谭巍.浅析东方元素在家居设计中的运用[J].艺术与设计(理论版),2013,(8):83-85.
[10]武旭.简论原研哉设计理念中的东方美学传统[J].艺海,2011,(10):96-97.
[11]云雅洁.东方禅意文化在空间设计中的应用研究[J].美术文献,2014,(2):180-181.
[12]曾辉.东方设计与慢生活美学[J].新美术,2015,(4):11-13.
[13]薄玉桴,于炜.慢设计理念与东方文化精神[J].大众文艺(学术版),2010,(24):65.
[14]张天星.适度设计中的“中”与“和”——共赏“良适”之东方美学[J].家具与室内装饰),2014,(12):50-55.
[15]张豪.东方哲学在工业产品设计中的应用分析[J].设计,2014,(4):190.
[16]刘雪丹.浅议设计美学的东方人文价值[J].建筑与文化,2014,(1):201-205.
[17]王丽君.新东方美学的神思与神行——叶锦添的艺术创作境界与《太极》的造型设计[J].电影艺术,2012,(6):149-152.
[18]沈珉.美国设计师眼中的东方文化立场与设计(一)[J].包装世界,2004,(2):80-81
[19]周武忠马佳燕.中国传统文化与当代空间设计[J].艺术百家,2015,(6):102-107.
[20]汉宝德.建筑·历史·文化:汉宝德论传统建筑[M].北京:清华大学出版社,2014:5-6.
[21]傅熹年.傅熹年建筑史论文选[M].天津:百花文艺出版社,2009:1.
[22]李萌.风从东方来——“中国风”设计述评[J].艺术科技,2014,(12):278.
[23]方海.“东方”“东方设计”与“新中国主义”[J].新美术,2015,(04):6-8.
[24][英]柯律格.中国艺术[M].刘颖译.上海:上海人民出版社,2012:5-6.
[25](宋)朱熹集注,赵长征点校.诗集传.[M]北京:中华书局,2011:107.
[26](唐)欧阳询撰.汪绍楹校.艺文类聚.四[M]上海:上海古籍出版社,1982:72.
[27](宋)范成大《吴船录》,转引自.顾宏义,李文整理标校.宋代日记丛编三.[M]上海:上海书店出版社,2013:838-839.
[28](元)王祯撰;缪启愉,缪桂龙译注.农书译注.上[M]济南:齐鲁书社,2009:634.
[29](明)计成著,陈植注释.园冶注释[M].北京:中国建筑工业出版社,1988:210.
[30](明)文震亨,屠隆撰.陈剑点校.长物志考槃余事[M].杭州:浙江人民美术出版社,2011:88-89.
[31]陈建群撰.袁枚散文选精注译[M].昆明:晨光出版社,2006:112.
[32]鲁迅.鲁迅全集.第十三卷[M],北京:人民文学出版社2005:81.