返璞与超越
|
摘要
当下,中国正面临着文化与民族特性消融的时代。对于当代中国的设计师来说,核心问题是如何把中国传统艺术演绎得更具“现代感”。本文强调传统的艺术观,但是并不意味着我们要僵守传统。虽然大多的设计师都明白这样一个道理——没有独具民族特色的艺术设计,便意味着没有他们的根基所在。对于一名当代成功的设计师而言,他们应该具备艺术设计专业所特有的专业敏感特性、艺术智慧、好奇心和创造力的综合素养。因为缺乏创造性的“设计”不能称之为设计。独特的艺术创造使设计师的设计品位得到提升。创意即生命,这是设计师恪守不渝的信条,也是孜孜以求的目标和灵魂所在。
本篇论文主要论述的是传统装饰艺术对现代平面设计的启示。开篇简略地介绍了传统装饰艺术概念及其特征,接着举例分析了传统装饰艺术如何被现代的设计师所演绎,从而得到启示——返璞归真。论文的研究重点是如何在设计中实现超越。文章分别从空间、结构、色彩以及设计师的设计风格等方面对中国传统装饰艺术进行深入的分析、论证,从而以一种更为宽阔的艺术视野和更为理性的思维方式去思考超越的可能性。我们都知道西方的平面设计是走在世界的前列,作为设计师来说我们要借鉴的并不是他们已经设计出的成品,而是一种设计的观念。只有在思想上领悟了设计的本质,设计才能有所创新。
中国传统装饰设计不仅在艺术形式上给现代平面设计以诸多灵感和启示,而且在内容上也为现代设计以思想观念上的突破和超越。因此,博大精深的中国传统装饰艺术让现代设计返璞和超越,蕴藏着巨大的思想底蕴,亦可看作是一种别样的“文采”。
China is faced with the cultural and national characteristics of the ablation time now. For contemporary designers of China, the core problem is how to perform a Chinese traditional art more "modern." In this paper, the traditional emphasis of the art concept, but does not mean we have to observe the traditional stiff. While most designers are aware of such a reason - there are no unique national characteristics of art and design, we mean that there is no foundation for their lies. For the success of a contemporary designer, they should have a unique artistic design of the major characteristics of major sensitive, artistic intelligence, curiosity and creativity of the General Literacy. since lack of creative "design" can not be called design. The creation of unique artistic quality to enable the design of the designer may be raised. Creative life, this is unswerving designers adhere to the tenets, the goal is pursued and the soul.
This thesis focuses on the inspiration of traditional decorative arts for modern graphic design. At opening briefly introduce the concept of the traditional decorative arts and its characteristics, then, for example an analysis of how the traditional decorative arts exhibit designer modern and thus inspiration - Return to Innocence. Research article focuses on how to go beyond the traditional. We all know that the West is going graphic design at the forefront of the world, as the designers want us to draw the design they have not finished, but the concept of a design. Only in the ideological understanding the nature of the design, design can be innovative. Thus in a much wider field of vision of the arts and more rational way of thinking, respectively, in space, structure, color and style, such as the design architect on the traditional Chinese decorative arts to conduct in-depth analysis, argumentation.
Decoration design not only Chinese traditional art form in modern graphic design to give a lot of inspiration and enlightenment, but also on the content design for the modern concept of thought on the breakthrough and beyond. Therefore, extensive and profound Chinese traditional decorative arts so that modern design back to Back-pu and beyond, a vast reservoir of thought inside, can be otherwise seen as a "literary talent."
本篇论文主要论述的是传统装饰艺术对现代平面设计的启示。开篇简略地介绍了传统装饰艺术概念及其特征,接着举例分析了传统装饰艺术如何被现代的设计师所演绎,从而得到启示——返璞归真。论文的研究重点是如何在设计中实现超越。文章分别从空间、结构、色彩以及设计师的设计风格等方面对中国传统装饰艺术进行深入的分析、论证,从而以一种更为宽阔的艺术视野和更为理性的思维方式去思考超越的可能性。我们都知道西方的平面设计是走在世界的前列,作为设计师来说我们要借鉴的并不是他们已经设计出的成品,而是一种设计的观念。只有在思想上领悟了设计的本质,设计才能有所创新。
中国传统装饰设计不仅在艺术形式上给现代平面设计以诸多灵感和启示,而且在内容上也为现代设计以思想观念上的突破和超越。因此,博大精深的中国传统装饰艺术让现代设计返璞和超越,蕴藏着巨大的思想底蕴,亦可看作是一种别样的“文采”。
China is faced with the cultural and national characteristics of the ablation time now. For contemporary designers of China, the core problem is how to perform a Chinese traditional art more "modern." In this paper, the traditional emphasis of the art concept, but does not mean we have to observe the traditional stiff. While most designers are aware of such a reason - there are no unique national characteristics of art and design, we mean that there is no foundation for their lies. For the success of a contemporary designer, they should have a unique artistic design of the major characteristics of major sensitive, artistic intelligence, curiosity and creativity of the General Literacy. since lack of creative "design" can not be called design. The creation of unique artistic quality to enable the design of the designer may be raised. Creative life, this is unswerving designers adhere to the tenets, the goal is pursued and the soul.
This thesis focuses on the inspiration of traditional decorative arts for modern graphic design. At opening briefly introduce the concept of the traditional decorative arts and its characteristics, then, for example an analysis of how the traditional decorative arts exhibit designer modern and thus inspiration - Return to Innocence. Research article focuses on how to go beyond the traditional. We all know that the West is going graphic design at the forefront of the world, as the designers want us to draw the design they have not finished, but the concept of a design. Only in the ideological understanding the nature of the design, design can be innovative. Thus in a much wider field of vision of the arts and more rational way of thinking, respectively, in space, structure, color and style, such as the design architect on the traditional Chinese decorative arts to conduct in-depth analysis, argumentation.
Decoration design not only Chinese traditional art form in modern graphic design to give a lot of inspiration and enlightenment, but also on the content design for the modern concept of thought on the breakthrough and beyond. Therefore, extensive and profound Chinese traditional decorative arts so that modern design back to Back-pu and beyond, a vast reservoir of thought inside, can be otherwise seen as a "literary talent."
引文
[1]杭间,何洁,靳埭强主编《岁寒三友》[M],济南:山东画报出版社,2005,57页
[1]转引自杭间文章《王朝闻晚年工艺美术思想发展描述》[J],《装饰》第51页,第02期,1999
[1]转引自太原师范学院美术系 杨弦《传统图形在平面设计中的应用解读》[J],《装饰》 第08期.2006
[1]康定斯基,《论艺术的精神》[M],北京:中国社会科学出版社,1987,83页
[2]转引自鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,459页
[1]沃林格《抽象与移情》[M],沈阳:辽宁人民出版社,1987,38页
[1]雷圭元《中国图案作法初探》[M],上海:上海人民美术出版社1979,42页
[2]鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,1-12页
[1]约翰内斯·伊顿:《色彩艺术》[M],,上海:上海人民美术出版社,1985,9页
[1]琢田敢:《色彩美学》[M],《色彩美的创造》,长沙:湖南美术出版社,1986,89页
[1]李砚祖主编芦影著《平面设计艺术》[M]北京:中国人民大学出版社,2005,436页
[1]迈克尔 G泽伊《擒获未来》[M],北京:北京三联书店,1997,357页
[1]李砚租主编 芦影著《平面设计艺术》[M]北京:中国人民大学出版社,2005,406页
[1]苏珊-朗格著,刘大基 傅志强 周发祥译《情感与形式》[M],北京:中国社会科学出版社,1986
[2]E-潘诺夫斯基著,傅志强译《视觉艺术的含义》[M],沈阳:辽宁人民出版社,1987
[3]贡布里希著,范景中 杨思梁 徐一维译《秩序感》[M],湖南:湖南科技出版社,2000
[4]雷圭元《中国图案作法初探》[M],上海:上海人民美术出版社,1979
[5]庞熏琹《中国传统装饰画研究》[M],上海:上海人民美术出版社,1982
[6]朱和平《世界现代设计史》[M],合肥:合肥工业大学出版社,2004
[7]倪建林《中西设计艺术比较》[M],重庆:重庆大学出版社,2007
[8]吕胜中《造型原本》看卷[M],北京:生活 读书 新知三联书店出版,2002
[9]李向伟《道器之间-艺术与设计论札》[M],合肥:安徽教育出版社,2004
[10]约翰内斯·伊顿《色彩艺术》[M],上海:上海人民美术出版社,1985
[11]斯蒂芬·茨威格《书的礼赞》[M],北京:北京三联书店,1998
[12]杭间,何洁,靳埭强主编《岁寒三友》[M],济南:山东画报出版社,2005,
[13]杭间《王朝闻晚年工艺美术思想发展描述》[J],《装饰》第02期,1999
[14]杨弦《传统图形在平面设计中的应用解读》[J],《装饰》 第08期,2006
[15]康定斯基,《论艺术的精神》[M],北京:中国社会科学出版社,1987,
[16]转引自鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,
[17]沃林格《抽象与移情》[M],沈阳:辽宁人民出版社,1987,
[18]鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,
[19]琢田敢:《色彩美学》[M],《色彩美的刨造》,长沙:湖南美术出版社,1986,
[20]李砚祖主编芦影著《平面设汁艺术》[M]北京:中国人民大学出版社,2005,
[21]迈克尔 G泽伊《擒获未来》[M],北京:北京三联书店,1997,
[1]转引自杭间文章《王朝闻晚年工艺美术思想发展描述》[J],《装饰》第51页,第02期,1999
[1]转引自太原师范学院美术系 杨弦《传统图形在平面设计中的应用解读》[J],《装饰》 第08期.2006
[1]康定斯基,《论艺术的精神》[M],北京:中国社会科学出版社,1987,83页
[2]转引自鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,459页
[1]沃林格《抽象与移情》[M],沈阳:辽宁人民出版社,1987,38页
[1]雷圭元《中国图案作法初探》[M],上海:上海人民美术出版社1979,42页
[2]鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,1-12页
[1]约翰内斯·伊顿:《色彩艺术》[M],,上海:上海人民美术出版社,1985,9页
[1]琢田敢:《色彩美学》[M],《色彩美的创造》,长沙:湖南美术出版社,1986,89页
[1]李砚祖主编芦影著《平面设计艺术》[M]北京:中国人民大学出版社,2005,436页
[1]迈克尔 G泽伊《擒获未来》[M],北京:北京三联书店,1997,357页
[1]李砚租主编 芦影著《平面设计艺术》[M]北京:中国人民大学出版社,2005,406页
[1]苏珊-朗格著,刘大基 傅志强 周发祥译《情感与形式》[M],北京:中国社会科学出版社,1986
[2]E-潘诺夫斯基著,傅志强译《视觉艺术的含义》[M],沈阳:辽宁人民出版社,1987
[3]贡布里希著,范景中 杨思梁 徐一维译《秩序感》[M],湖南:湖南科技出版社,2000
[4]雷圭元《中国图案作法初探》[M],上海:上海人民美术出版社,1979
[5]庞熏琹《中国传统装饰画研究》[M],上海:上海人民美术出版社,1982
[6]朱和平《世界现代设计史》[M],合肥:合肥工业大学出版社,2004
[7]倪建林《中西设计艺术比较》[M],重庆:重庆大学出版社,2007
[8]吕胜中《造型原本》看卷[M],北京:生活 读书 新知三联书店出版,2002
[9]李向伟《道器之间-艺术与设计论札》[M],合肥:安徽教育出版社,2004
[10]约翰内斯·伊顿《色彩艺术》[M],上海:上海人民美术出版社,1985
[11]斯蒂芬·茨威格《书的礼赞》[M],北京:北京三联书店,1998
[12]杭间,何洁,靳埭强主编《岁寒三友》[M],济南:山东画报出版社,2005,
[13]杭间《王朝闻晚年工艺美术思想发展描述》[J],《装饰》第02期,1999
[14]杨弦《传统图形在平面设计中的应用解读》[J],《装饰》 第08期,2006
[15]康定斯基,《论艺术的精神》[M],北京:中国社会科学出版社,1987,
[16]转引自鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,
[17]沃林格《抽象与移情》[M],沈阳:辽宁人民出版社,1987,
[18]鲁道夫 阿恩海姆:《艺术与视知觉》[M],北京:中国社会科学出版社1984,
[19]琢田敢:《色彩美学》[M],《色彩美的刨造》,长沙:湖南美术出版社,1986,
[20]李砚祖主编芦影著《平面设汁艺术》[M]北京:中国人民大学出版社,2005,
[21]迈克尔 G泽伊《擒获未来》[M],北京:北京三联书店,1997,