太极图形的传承与创新
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摘要
本论文主要针对传统“太极图”在现代设计中广泛应用进行的研究。太极图“对立统一、永恒运动、周而复始、生生不息”的特征已经延伸到中国很多文化中。这样就需要设计师在表现形式美的基础上,挖掘“太极图”的象征寓意和文化内涵,设计出既符合民族传统观念、又融入时代视觉符号的现代设计作品。对此论述了在现代设计国际化的趋势下,如何汲取本民族优秀的传统文化,恰当地融入到现代设计中,体现富有民族个性和地域韵味的优秀作品。在设计国际化的今天,各民族只有在深入领悟传统艺术精神、充分认识现代西方设计思潮的基础上,兼收并蓄、融会贯通、寻找传统与现代的契合点,才能打造出符合新时代要求的现代设计作品,如2001年的北京申奥标志,整个造型运用了中国传统造型艺术中特有的写意手法,运用“中国结”和“太极拳”两个意象,十分巧妙地将中国特色和奥林匹克精神元素结合在一起。这说明具有民族传统文化特色的符号在现代设计中的运用,不仅对弘扬民族文化起到了传承作用,又促进了传播作用。
太极图形它的符号化、象征化的美学意义体现在:体现着中华民族传统图像思维模式,它所承载的中国传统文化发展而出的道家的思想文化哲学,与先人以八卦意向形成对世界万物的象征自然融合在一起,象征着中国人的哲学,宇宙世界观,成为中国传统文化的典型图形,与中国传统文化思想观念遥相呼应,互为融合。太极图形的演变代表了对于传统图形的深层次,对艺术表现深层次的追求,其间蕴含了中国传统艺术不羁的自由精神。
太极图在现代设计中的运用主要体现在:标志、广告、建筑、产品、首饰和服装设计中,太极图形富有个性的符号形象,是抽象语言、几何图形所无法比拟和不可替代的。如太极图形作为元素的标志设计:凤凰卫视台标是对于太极图形寓意的最好表现,达到了传统与现代巧妙结合。
In this paper, aimed at the traditional "Tai Chi Schema" in the modern design of the study widely used. Tai Chi map "of the unity of opposites, perpetual motion, cycle, endless" features have been extended to a lot of Chinese culture. This required the designer in the performance of formal beauty, based on the excavation, "Tai Chi map" a symbol of moral and cultural connotations, the design concept is in line with the national traditions, but also into the era of visual symbols of the modern "tai chi schema" design works. This paper in the modern design trend of internationalization, how to draw the nation's outstanding traditional culture, and appropriate integration into the modern design, reflecting the rich ethnic and geographic character of the outstanding works charm. In the design of the internationalization of today, of all ethnic groups, only in-depth understanding the spirit of traditional arts, a full understanding of the design of modern Western thought on the basis of everything, together, look for the traditional and the modern meeting point in order to create a new era in line with the requirements of modern design works , such as the 2001 Beijing Olympic logo, the entire model using the plastic arts in the traditional Chinese freehand brushwork specific practices, the use of "Chinese knot" and "shadow boxing" two images very cleverly with Chinese characteristics and combines elements of the Olympic spirit. This shows that the traditional cultural characteristics of national symbols in the modern design of the application, not only to promote the national cultural heritage has played a role, but also promoted the role of communications.
Tai Chi graphics symbols, and symbolic of the aesthetic significance of: the Han people and embodies the traditional image mode of thinking, its load of Chinese cultural development of the Taoist concept of ideology and culture, with the ancestors to the Eight Diagrams of the formation of the universe, a symbol of the natural world together, symbolizing the Chinese people's concept of the universe and the arts, becoming a typical Southern Culture graphics, and the North thought the concept of national culture in Vicenza, each fusion. Tai Chi chart in the application of modern design is mainly reflected in the following: logo, advertising, products, architecture, jewelry and clothing design, tai chi symbol personalized graphics image, an abstract language, geometry unmatched and irreplaceable. Graphics such as tai chi, as elements of logo design: logo Phoenix Tai Chi for the best graphics performance of meaning. Reached a unique combination of tradition and modernity.
太极图形它的符号化、象征化的美学意义体现在:体现着中华民族传统图像思维模式,它所承载的中国传统文化发展而出的道家的思想文化哲学,与先人以八卦意向形成对世界万物的象征自然融合在一起,象征着中国人的哲学,宇宙世界观,成为中国传统文化的典型图形,与中国传统文化思想观念遥相呼应,互为融合。太极图形的演变代表了对于传统图形的深层次,对艺术表现深层次的追求,其间蕴含了中国传统艺术不羁的自由精神。
太极图在现代设计中的运用主要体现在:标志、广告、建筑、产品、首饰和服装设计中,太极图形富有个性的符号形象,是抽象语言、几何图形所无法比拟和不可替代的。如太极图形作为元素的标志设计:凤凰卫视台标是对于太极图形寓意的最好表现,达到了传统与现代巧妙结合。
In this paper, aimed at the traditional "Tai Chi Schema" in the modern design of the study widely used. Tai Chi map "of the unity of opposites, perpetual motion, cycle, endless" features have been extended to a lot of Chinese culture. This required the designer in the performance of formal beauty, based on the excavation, "Tai Chi map" a symbol of moral and cultural connotations, the design concept is in line with the national traditions, but also into the era of visual symbols of the modern "tai chi schema" design works. This paper in the modern design trend of internationalization, how to draw the nation's outstanding traditional culture, and appropriate integration into the modern design, reflecting the rich ethnic and geographic character of the outstanding works charm. In the design of the internationalization of today, of all ethnic groups, only in-depth understanding the spirit of traditional arts, a full understanding of the design of modern Western thought on the basis of everything, together, look for the traditional and the modern meeting point in order to create a new era in line with the requirements of modern design works , such as the 2001 Beijing Olympic logo, the entire model using the plastic arts in the traditional Chinese freehand brushwork specific practices, the use of "Chinese knot" and "shadow boxing" two images very cleverly with Chinese characteristics and combines elements of the Olympic spirit. This shows that the traditional cultural characteristics of national symbols in the modern design of the application, not only to promote the national cultural heritage has played a role, but also promoted the role of communications.
Tai Chi graphics symbols, and symbolic of the aesthetic significance of: the Han people and embodies the traditional image mode of thinking, its load of Chinese cultural development of the Taoist concept of ideology and culture, with the ancestors to the Eight Diagrams of the formation of the universe, a symbol of the natural world together, symbolizing the Chinese people's concept of the universe and the arts, becoming a typical Southern Culture graphics, and the North thought the concept of national culture in Vicenza, each fusion. Tai Chi chart in the application of modern design is mainly reflected in the following: logo, advertising, products, architecture, jewelry and clothing design, tai chi symbol personalized graphics image, an abstract language, geometry unmatched and irreplaceable. Graphics such as tai chi, as elements of logo design: logo Phoenix Tai Chi for the best graphics performance of meaning. Reached a unique combination of tradition and modernity.
引文
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[2]贺克.李越恒:太极八卦图与现代艺术设计[J],《装饰》.2002.10, P64
[3] http://www.cehuaren.com/article/view_243.htm1:<话说太极>
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[5]扬明.现代设计中的太极图式探析[J],西北师范大学2008-05-21
[6]胡江.螺旋纹密码[M].北京:中国友谊出版公司,2003,10
[7]李砚祖.创造精致[J],中国发展出版社.2001
[8]李幼蒸.历史符号学[M].南宁:广西师范大学出版社,2003.65-91.
[9] [日]朝仓直己.艺术设计的平面构成[M],上海:上海人民美术出版社1987年版。
[10]胡江.螺旋纹密码[M].北京:中国友谊出版公司,2003,10
[11]戴明杰.太极符号在现代标志设计中的传承与创新[J],厦门大学艺术学院,装饰,2008年11期
[12]卜昌伟.京华时报[J].2004.9.24第A24版
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[15]张雪.标志设计新趋向[M],重庆:重庆出版社,2001
[16]崔荣荣,唐虹,卢阳:联想创新与服饰仿生设计[J],天津工业大学学报,第21卷第5期
[17]陈望衡.艺术设计美学[M],武汉大学出版社,2000年7月第一版。
[18]刘和山.金涛,由太极图看中国产品设计风格之形成[J],济南,山东大学
[19]卢新华.悟“物之道”抒“生之欲”,《科学》[J],2001.4, P39-40
[20]程学林.首饰设计的民族[J],传统,现代,首饰设计
[21]巨林.首饰设计中的有机形态[J],北京:中央美术学院,2006
[22]潘沐闲,道教美术元素在现代首饰设计中的借鉴和应用[J],北京:中国地质大学,2008,11
[23]田自秉.工艺美术概论[M],武汉大学出版社[M],知识出版社1991年版。
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[25]卢新华.走进艺术与科学创造的深境[J],《装饰》,2001.3, P20-22 P44-45
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[27]谢燕淞.传统图形和现代平面设计[J],艺术与设计,2002总034期
[28]李砚祖.视觉传达设计的历史与美学[M],中国人民大学出版社,2000.1
[29]杭间,何洁,靳埭强.岁汗三友——中国传统图形与现代视觉设计[M].济南:山东画报出版社,2005.1
[30]钱志强,附带美术与中国文明起源研究[M],北京:中国社会科学出版社[J],2007,
[31]柳林,赵全宜.吉祥图形新视觉[M],武汉:武汉大学出版社,2005.ISBN 7-307-04607-5
[32]吴家骅著,叶南翻译.景观形态学:景观美学比较研究[M].北京:中国建筑工业出版社, 1999-05.
[33] (日)原研哉著,朱锷译.设计中的设计[M].济南:山东人民出版社,2006-11.
[34]赵江洪.设计艺术的含义[M].长沙:湖南大学出版社,1999-07.
[35]廖军.艺术视觉思维[M].北京:中国纺织出版社,2000.
[36]邢庆华.设计从这里开始[M].沈阳:辽宁美术出版社,1996.
[37]施慧.公共艺术设计[M].杭州:中国美术学院出版社,1996.
[38]何晓佑,谢云峰.人性化设计[M].南京:江苏美术出版社,1996.
[39]何洁.中国传统图形与现代视觉设计作品集[M].沈阳:辽宁美术出版社,2006
[40]何其亮,张晔.英释中国传统文化[M].上海:浙江大学出版社,2006
[41]楼西庆,中国传统建筑文化[M].北京:中国旅游出版社,2008
[42] H.w.Janson,Thames and Hudson pudlition,《History of Art》
[43] Dormer,Peter,Lodon Thmes and Hudson Ltd,《Design since 1945》
[2]贺克.李越恒:太极八卦图与现代艺术设计[J],《装饰》.2002.10, P64
[3] http://www.cehuaren.com/article/view_243.htm1:<话说太极>
[4]陈琳.“太极图”造像初探[J],《装饰》,2006. 2 ,P 128
[5]扬明.现代设计中的太极图式探析[J],西北师范大学2008-05-21
[6]胡江.螺旋纹密码[M].北京:中国友谊出版公司,2003,10
[7]李砚祖.创造精致[J],中国发展出版社.2001
[8]李幼蒸.历史符号学[M].南宁:广西师范大学出版社,2003.65-91.
[9] [日]朝仓直己.艺术设计的平面构成[M],上海:上海人民美术出版社1987年版。
[10]胡江.螺旋纹密码[M].北京:中国友谊出版公司,2003,10
[11]戴明杰.太极符号在现代标志设计中的传承与创新[J],厦门大学艺术学院,装饰,2008年11期
[12]卜昌伟.京华时报[J].2004.9.24第A24版
[13]周宪.中国当代审美文化研究[M].北京:北京大学出版社。1997
[14]冯建基.现代标志设计研究[M],甘肃:甘肃人民美术出版社,2005年版。
[15]张雪.标志设计新趋向[M],重庆:重庆出版社,2001
[16]崔荣荣,唐虹,卢阳:联想创新与服饰仿生设计[J],天津工业大学学报,第21卷第5期
[17]陈望衡.艺术设计美学[M],武汉大学出版社,2000年7月第一版。
[18]刘和山.金涛,由太极图看中国产品设计风格之形成[J],济南,山东大学
[19]卢新华.悟“物之道”抒“生之欲”,《科学》[J],2001.4, P39-40
[20]程学林.首饰设计的民族[J],传统,现代,首饰设计
[21]巨林.首饰设计中的有机形态[J],北京:中央美术学院,2006
[22]潘沐闲,道教美术元素在现代首饰设计中的借鉴和应用[J],北京:中国地质大学,2008,11
[23]田自秉.工艺美术概论[M],武汉大学出版社[M],知识出版社1991年版。
[24]刘和山.金涛:由太极图看中国产品设计风格之形成[J],济南,山东大学
[25]卢新华.走进艺术与科学创造的深境[J],《装饰》,2001.3, P20-22 P44-45
[26]杭间,何洁,靳埭强,岁汗三友——中国传统图形与现代视觉设计[M].济南:山东画报出版社,2005.1
[27]谢燕淞.传统图形和现代平面设计[J],艺术与设计,2002总034期
[28]李砚祖.视觉传达设计的历史与美学[M],中国人民大学出版社,2000.1
[29]杭间,何洁,靳埭强.岁汗三友——中国传统图形与现代视觉设计[M].济南:山东画报出版社,2005.1
[30]钱志强,附带美术与中国文明起源研究[M],北京:中国社会科学出版社[J],2007,
[31]柳林,赵全宜.吉祥图形新视觉[M],武汉:武汉大学出版社,2005.ISBN 7-307-04607-5
[32]吴家骅著,叶南翻译.景观形态学:景观美学比较研究[M].北京:中国建筑工业出版社, 1999-05.
[33] (日)原研哉著,朱锷译.设计中的设计[M].济南:山东人民出版社,2006-11.
[34]赵江洪.设计艺术的含义[M].长沙:湖南大学出版社,1999-07.
[35]廖军.艺术视觉思维[M].北京:中国纺织出版社,2000.
[36]邢庆华.设计从这里开始[M].沈阳:辽宁美术出版社,1996.
[37]施慧.公共艺术设计[M].杭州:中国美术学院出版社,1996.
[38]何晓佑,谢云峰.人性化设计[M].南京:江苏美术出版社,1996.
[39]何洁.中国传统图形与现代视觉设计作品集[M].沈阳:辽宁美术出版社,2006
[40]何其亮,张晔.英释中国传统文化[M].上海:浙江大学出版社,2006
[41]楼西庆,中国传统建筑文化[M].北京:中国旅游出版社,2008
[42] H.w.Janson,Thames and Hudson pudlition,《History of Art》
[43] Dormer,Peter,Lodon Thmes and Hudson Ltd,《Design since 1945》