草间弥生圆点艺术在时装设计中的应用分析
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摘要
草间弥生圆点艺术在时装设计中的应用,有利于艺术价值的传播及艺术与社会生活的融合。通过文献研究、描述性研究和经验总结等方法探究草间弥生圆点艺术的创作手法,归纳总结出其在时装设计中的表达方式及思想内涵,并对其在时装设计中应用的方法做出了探索尝试,以期为探究当代艺术在现代时装设计中的应用提供启示。研究认为草间弥生圆点艺术蕴含着其对"爱"与"生命"的热切追求及探索,赋予了圆点生命意义使其律动均衡又极具可塑性及再生力,其绘画作品中圆点的跳跃变化增强时装的视觉冲击力使服装更具感染力,雕塑作品中圆点的具体化突破时装轮廓线的局限使服装极赋个性又具有亲和力。
The application of Yayoi kusama dot art in fashion design is beneficial to the spread of artistic value and the fusion of art and social life. This paper explores the creative techniques of Yayoi kusama dot art through literature research, descriptive research and experience summarization, and sums up its expression and ideological connotation in fashion design, and probes into the method of its application in fashion design in order to provide enlightenment for exploring the application of contemporary art in modern fashion design. The research shows that Yayoi kusama dot art contains the keen pursuit and exploration of ‘love' and ‘life', and endows the dots with the meaning of life and balanced rhythms making them extremely plastic and regenerative. The jump of dots in his paintings enhances the visual impact of fashion, and the concretization of dots in sculptures breaks through the limitations of fashion contours, making clothing extremely personal and approachable.
The application of Yayoi kusama dot art in fashion design is beneficial to the spread of artistic value and the fusion of art and social life. This paper explores the creative techniques of Yayoi kusama dot art through literature research, descriptive research and experience summarization, and sums up its expression and ideological connotation in fashion design, and probes into the method of its application in fashion design in order to provide enlightenment for exploring the application of contemporary art in modern fashion design. The research shows that Yayoi kusama dot art contains the keen pursuit and exploration of ‘love' and ‘life', and endows the dots with the meaning of life and balanced rhythms making them extremely plastic and regenerative. The jump of dots in his paintings enhances the visual impact of fashion, and the concretization of dots in sculptures breaks through the limitations of fashion contours, making clothing extremely personal and approachable.
引文
[1]黄高翔.草间弥生“圆点”的真实与幻境[J].大舞台,2012(3):121-122.HUANG Gao-xiang. Reality and fantasy of Kusama’s‘Diamond’[J].Theater, 2012(3):121-122.
[2]吴宇杉.封闭与开放———草间弥生艺术元素中的精神秘密[J].艺术评论, 2015(7):84-87.WU Yu-shan. Closed and Open-Spiritual Secret in Kusama's Art Elements[J].Arts Criticism, 2015(7):84-87.
[3]康定斯基.康定斯基论点线面[M].罗世平,魏大海,等译.北京:中国人民大学出版社, 2003:9-33.Kandinsky.Kandinsky's argument on point, line and surface[M].transleted by LUO Shi-ping, WEI Da-hai,et al.Beijing:China Renmin University Press, 2003:9-33.
[4]马建勋.圆点哲学[J].人文杂志.1996(1):20-25.MA Jian-xun.The Dot Philosophy[J].The Journal of Humanities(Bimonthly). 1996(1):20-25.
[5]梁勇.游走于艺术家和精神病患者间的话题女王———草间弥生个案探究[J].艺术工作, 2016(6):124-126.LIANG Yong. A Case Study of the Story Queen:Kusama wonding between the artist and the mentally ill[J]. Art Work, 2016(6):124-126.
[6]草间弥生.草间弥生×圆点执念:写给时代的话[M].杨家昌译.台北:城邦文化出版社,2014:15.Yayoi Kusama.Kazama Yayo×Dot Obsession:Writing to the Times[M].translated by Yang Jia-chang. Taipei:Chengbang Culture Press, 2014:15.
[7]潘力.“增殖的魔幻”———草间弥生[J].美术观察,2014(3):140-146.PAN Li.‘Magic of Multiplication':Kusama[J].Art Observation, 2014(3):140-146.
[8]张婷.草间弥生的“梦境式”波普艺术解析[J].四川戏剧, 2015(8):79-81.ZHANG Ting.Pop Art Analysis on Kusaama's Dreamstyle[J]. Sichuan Drama, 2015(8):79-81.
[9]张博.空间中的点———草间弥生艺术展览新探[J].装饰, 2016(1):103-105.ZHANG Bo. The Point in Space:A New Exploration of Kusama's Art Exhibition[J]. Decoration, 2016(1):103-105.
[10]郭翠婷.康定斯基的艺术理念与绘画表现形式———读《论艺术的精神》和《点·线·面》[J].艺术工作,2010(5):24-27.GUO Cui-ting. Kandinsky's artistic conception and paintings expression-Reading On the Spirit of Art and Diagram·Line·Face[J].Art Work, 2010(5):24-27.
[11]张浩.草间弥生艺术风格在女装设计中的应用[D].天津师范大学, 2014:1-10.ZHANG Hao. Application of Kusama Art Style in Women's Wear Design[D].Tianjin Normal University,2014:1-10.
[12]陶晨,段亚峰,印梅芬.服装廓形的识别与量化[J].纺织学报, 2015(5):79-82.TAO Chen, Duan Ya-feng, Yin Mei-fen. Recognition and Quantification of Clothing Profiles[J]. Journal of Textile Research, 2015(5):79-82.
[13]赵立环,王府梅.服装廓形至关重要的织物弧度塑形性的研究———评价方法与设计要领[J].东华大学学报(自然科学版), 2011(1):28-34.ZHAO Li-huan,Wang Fu-mei.Study on Fabric Shape of Fabrics with Critical Shape of Apparel:Evaluation Method and Design Method[J]. Journal of Donghua University(Natural Science), 2011(1):28-34.
[14]贾京生.论服饰图案应用设计的方式[J].服饰导刊,2015(3):68-74.JIA Jing-sheng.On the methods of Applying and Designing Costume Patterns[J].Fashion Guide, 2015(3):68-74.
[2]吴宇杉.封闭与开放———草间弥生艺术元素中的精神秘密[J].艺术评论, 2015(7):84-87.WU Yu-shan. Closed and Open-Spiritual Secret in Kusama's Art Elements[J].Arts Criticism, 2015(7):84-87.
[3]康定斯基.康定斯基论点线面[M].罗世平,魏大海,等译.北京:中国人民大学出版社, 2003:9-33.Kandinsky.Kandinsky's argument on point, line and surface[M].transleted by LUO Shi-ping, WEI Da-hai,et al.Beijing:China Renmin University Press, 2003:9-33.
[4]马建勋.圆点哲学[J].人文杂志.1996(1):20-25.MA Jian-xun.The Dot Philosophy[J].The Journal of Humanities(Bimonthly). 1996(1):20-25.
[5]梁勇.游走于艺术家和精神病患者间的话题女王———草间弥生个案探究[J].艺术工作, 2016(6):124-126.LIANG Yong. A Case Study of the Story Queen:Kusama wonding between the artist and the mentally ill[J]. Art Work, 2016(6):124-126.
[6]草间弥生.草间弥生×圆点执念:写给时代的话[M].杨家昌译.台北:城邦文化出版社,2014:15.Yayoi Kusama.Kazama Yayo×Dot Obsession:Writing to the Times[M].translated by Yang Jia-chang. Taipei:Chengbang Culture Press, 2014:15.
[7]潘力.“增殖的魔幻”———草间弥生[J].美术观察,2014(3):140-146.PAN Li.‘Magic of Multiplication':Kusama[J].Art Observation, 2014(3):140-146.
[8]张婷.草间弥生的“梦境式”波普艺术解析[J].四川戏剧, 2015(8):79-81.ZHANG Ting.Pop Art Analysis on Kusaama's Dreamstyle[J]. Sichuan Drama, 2015(8):79-81.
[9]张博.空间中的点———草间弥生艺术展览新探[J].装饰, 2016(1):103-105.ZHANG Bo. The Point in Space:A New Exploration of Kusama's Art Exhibition[J]. Decoration, 2016(1):103-105.
[10]郭翠婷.康定斯基的艺术理念与绘画表现形式———读《论艺术的精神》和《点·线·面》[J].艺术工作,2010(5):24-27.GUO Cui-ting. Kandinsky's artistic conception and paintings expression-Reading On the Spirit of Art and Diagram·Line·Face[J].Art Work, 2010(5):24-27.
[11]张浩.草间弥生艺术风格在女装设计中的应用[D].天津师范大学, 2014:1-10.ZHANG Hao. Application of Kusama Art Style in Women's Wear Design[D].Tianjin Normal University,2014:1-10.
[12]陶晨,段亚峰,印梅芬.服装廓形的识别与量化[J].纺织学报, 2015(5):79-82.TAO Chen, Duan Ya-feng, Yin Mei-fen. Recognition and Quantification of Clothing Profiles[J]. Journal of Textile Research, 2015(5):79-82.
[13]赵立环,王府梅.服装廓形至关重要的织物弧度塑形性的研究———评价方法与设计要领[J].东华大学学报(自然科学版), 2011(1):28-34.ZHAO Li-huan,Wang Fu-mei.Study on Fabric Shape of Fabrics with Critical Shape of Apparel:Evaluation Method and Design Method[J]. Journal of Donghua University(Natural Science), 2011(1):28-34.
[14]贾京生.论服饰图案应用设计的方式[J].服饰导刊,2015(3):68-74.JIA Jing-sheng.On the methods of Applying and Designing Costume Patterns[J].Fashion Guide, 2015(3):68-74.