当代招贴设计的图像学形态研究
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摘要
当代招贴设计是广告视觉化的主要媒体。招贴随着社会发展而产生,依托科技进步而丰富,作为传播和劝导某种意图的载体,招贴设计无疑是一种社会行为。图像之中的图像以及图像之间的关联,折射出不同时代背景下人们的思想意识和精神面貌。每一幅招贴设计的完成都置身于特定的社会背景中,新兴的图像形态会在设计中得以表现,而设计又扩大了图像形态的影响。招贴设计的当代发展,在于它从艺术和现实的角度见证了历史的书写,通过文献性视觉记录的方式讲述推动现实理想。兴起于西方传统图像志研究的图像学,礼遇当代的设计语境异常勃兴,形成一个以全新视角、全新方法科学审视当代艺术的新学科,用图像学的方法探讨图像象征符号作为人类思想传播工具的意义。
本文从当代招贴现象的问题入手,采用图像学研究形态分别就招贴的象征意义、形式和意义上的变化、发展和延续上的变化三种形态进行解析。希望当代招贴设计在理性秩序下借西学之风,熔铸民族传统,兼容多元艺术形态,依托科学技术的日新月异,博采众家之长,使其成为研究多元艺术形态发展的一个图像标本,介入社会学的视觉文本。逻辑与历史相统一,在一定程度解决了所分析的问题,具有现实与理论意义。
Contemporary poster design is the main medium for advertising visualization. Poster is produced and enriched along with the social development and technology progress. As a carrier for transmitting and persuading, it is undoubtedly a kind of social behavior. Images and the correlation between them can reflect the ideology and spirit of different generations. Every poster is completed under its particular social background. The emerging images can be well presented in the design, yet design can also expand the influences of images. The development of the contemporary poster is a result of its seeing the history in eyes of reality and art, and recording to promote realistic ideal by visual documentary. Originated from traditional western iconology study and based on the booming industry, poster design is becoming a new subject with brand new views and scientific method. The subject is to analyze and have a research on discussing the meaning of images symbolism transmitting thoughts from the standpoint of iconology. This thesis goes about the phenomenon of contemporary poster design, using iconology study methods to discuss its symbolism, changes and development continues. Uniting from logic and historical photograph, the research solves problems referred to in some degree; hence it has realistic and theoretical significance.
本文从当代招贴现象的问题入手,采用图像学研究形态分别就招贴的象征意义、形式和意义上的变化、发展和延续上的变化三种形态进行解析。希望当代招贴设计在理性秩序下借西学之风,熔铸民族传统,兼容多元艺术形态,依托科学技术的日新月异,博采众家之长,使其成为研究多元艺术形态发展的一个图像标本,介入社会学的视觉文本。逻辑与历史相统一,在一定程度解决了所分析的问题,具有现实与理论意义。
Contemporary poster design is the main medium for advertising visualization. Poster is produced and enriched along with the social development and technology progress. As a carrier for transmitting and persuading, it is undoubtedly a kind of social behavior. Images and the correlation between them can reflect the ideology and spirit of different generations. Every poster is completed under its particular social background. The emerging images can be well presented in the design, yet design can also expand the influences of images. The development of the contemporary poster is a result of its seeing the history in eyes of reality and art, and recording to promote realistic ideal by visual documentary. Originated from traditional western iconology study and based on the booming industry, poster design is becoming a new subject with brand new views and scientific method. The subject is to analyze and have a research on discussing the meaning of images symbolism transmitting thoughts from the standpoint of iconology. This thesis goes about the phenomenon of contemporary poster design, using iconology study methods to discuss its symbolism, changes and development continues. Uniting from logic and historical photograph, the research solves problems referred to in some degree; hence it has realistic and theoretical significance.
引文
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[25]丁亚平,艺术文化学[M].文化艺术出版社,2003.
[26]章利国.现代设计社会学[M].湖南科学技术出版社,2005.
[27]鲁虹,孙振华主编.艺术与社会[M].湖南美术出版社,2005.
[28]巫鸿.作品与展场——巫鸿论中国当代艺术[M].岭南美术出版社,2005.
[29]王寅.艺术不是惟一的方式——当代艺术家访谈录[M].上海书店出版社,2007.
[30]高名潞.墙——中国当代艺术的历史与边界[M].中国人民大学出版社,2007.
[31]王受之.世界当代艺术史:1960-2000[M].中国青年出版社,2003.
[32]查常平.当代艺术的人文追思(1997-2007) [M].广西师范大学出版社,2008.
[33] [英]亚历山大.艺术社会学[M].江苏美术出版社,2009.
[34]宋建林.现代艺术社会学导论[M].知识出版社,2003.
[35]滕守尧.艺术社会学描述[M].南京出版社,2006.
[36]彭富春.哲学美学导论[M].人民出版社,2005.
[37]杭间著.设计道[M].重庆大学出版社,2009.
[38]易思羽.中国符号[M].江苏人民出版社,2005.
[39]李泽厚.美的历程[M].中国社会科学出版社,1984.
[40]仪平策.中国美学文化阐释[M].首都师范大学出版社,2003.
[41]陈丹青.退步集[M].广西师范大学出版社,2005.
[42]张晓凌.中国艺术学[M].文化艺术出版社,2003.
[2]霍丽,易英译.帕诺夫斯基与美术史基础[M].湖南美术出版社,1991.
[3] [英]贡布里希,杨思梁、范景中编选.象征的图像[M].浙江摄影出版社,1990.
[4] [英]贡布里希,范景中等译,图像与眼睛.浙江摄影出版,1989.
[4] [法]茨维坦·托多罗夫,王国卿译.象征理论[M].商务印书馆,2004.
[5] [法]阿尔维托?曼谷埃尔,薛绚译,意象地图[M].云南人民出版社,2004.
[6] [英]彼得?伯克著.杨豫译,图像证史[M].北京大学出版,2008.
[7]李砚祖,芦影编著.视觉传达设计的历史与美学[M].中国人民大学出版社,2000.
[8] [斯]阿莱斯·艾尔雅维茨,胡菊兰,张云鹏译.图像时代[M].吉林人民出版社,2001.
[9] [美]道格拉斯·凯尔纳,丁宁译.媒体文化——介于现代与后现代之间的文化研究、认同性与政治[M].商务印书馆,2003.
[10] [英]迈克·费瑟斯通.消费文化与后现代主义[M].译林出版社,2003.
[11] [美]米歇尔,陈永国,胡文征译.图像理论[M].北京大学出版社,2004
[12] [美]道格拉斯·凯尔纳,陈维振,陈明达,王峰译.波德里亚:批判性的读本[M].江苏人民出版社,2000.
[13]辛华泉.形态构成学[M].中国美术学院出版社,1999.
[14]阿恩海姆,周宪.艺术的心理世界[M].中国人民大学出版社,2003.
[15]王洪义.视觉形式分析[M].浙江大学出版社,2007.
[16]约翰?伯格.观看之道[M].广西师范大学出版社,2005.
[17]约翰内斯?依顿.色彩艺术[M].上海人民出版社,1988.
[18]胡泽民.色彩与人生[C].论中国传统色彩的象征意识,1998.
[19] [日]潼本孝雄,藤尺英昭,成同社译[M].色彩心理学.科学技术文献出版社,1989.
[20]康定斯基,李政文,魏大海译.艺术中的精神[M].中国人民大学出版社,2003.
[21] [英]罗杰?弗莱,易英译.视觉与设计[M].江苏教育出版社,2005.
[22]易思羽.中国符号[M].南京:江苏人民出版社,2005.
[24]彭吉象.艺术学概论[M].北京大学出版社,2007.
[25]丁亚平,艺术文化学[M].文化艺术出版社,2003.
[26]章利国.现代设计社会学[M].湖南科学技术出版社,2005.
[27]鲁虹,孙振华主编.艺术与社会[M].湖南美术出版社,2005.
[28]巫鸿.作品与展场——巫鸿论中国当代艺术[M].岭南美术出版社,2005.
[29]王寅.艺术不是惟一的方式——当代艺术家访谈录[M].上海书店出版社,2007.
[30]高名潞.墙——中国当代艺术的历史与边界[M].中国人民大学出版社,2007.
[31]王受之.世界当代艺术史:1960-2000[M].中国青年出版社,2003.
[32]查常平.当代艺术的人文追思(1997-2007) [M].广西师范大学出版社,2008.
[33] [英]亚历山大.艺术社会学[M].江苏美术出版社,2009.
[34]宋建林.现代艺术社会学导论[M].知识出版社,2003.
[35]滕守尧.艺术社会学描述[M].南京出版社,2006.
[36]彭富春.哲学美学导论[M].人民出版社,2005.
[37]杭间著.设计道[M].重庆大学出版社,2009.
[38]易思羽.中国符号[M].江苏人民出版社,2005.
[39]李泽厚.美的历程[M].中国社会科学出版社,1984.
[40]仪平策.中国美学文化阐释[M].首都师范大学出版社,2003.
[41]陈丹青.退步集[M].广西师范大学出版社,2005.
[42]张晓凌.中国艺术学[M].文化艺术出版社,2003.