摘要
书籍是人类交流思想的完美产物,也是传播知识、积淀文化的工具,自人类文明诞生,书籍就以其信息承载量大,成为人们表达思想、舒解情怀的载体,并依靠其独有的艺术魅力,成为了我们生活的一部分。书籍装帧艺术随着书籍的诞生而产生,以其独特的审美价值,随着时代的进步而不断发展。随着人们审美意识的不断提高,人们开始不仅仅只注重书籍的实用功能,而是从艺术、工艺等多个方面来考虑到它身上所存在的审美价值,书籍装帧设计的审美特征是具有时代性的,审美观念的不断发展,促使人们对书籍装帧设计审美特征进行具有现实意义的研究,从而更好的指导装帧设计实践工作。只有在审美特征上进行书籍装帧的艺术设计,才能创造出更具品味的装帧艺术作品。
书籍是知识的载体,而书籍装帧属于艺术范畴。中国传统书籍装帧艺术在书籍装帧设计史上占有重要的地位。两千多年以来,中国书籍装帧艺术在长期的演变过程中,逐渐形成了古朴、简洁、典雅、实用的东方特有的特点。对书籍的结构与形态进行设计正是书籍装帧艺术的任务。早期的书籍形式与今天有着很大的区别,不同时期,装帧艺术的含义也不尽相同。因此,在研究书籍装帧艺术的同时,应该考虑到不同时代语言、文字、文学、艺术、科学和技术的发展,特别是应当与当时的经济水平,即物质条件和技术条件相关联,不能脱离书籍本身的条件而单独发展。
中华民族在长久的历史流程中形成了独特的民族文化传统,对这种传统文化的继承,本课题的装帧设计就是借助自己独特的艺术语言来弘扬传统文化的精髓,实现装帧设计的民族风格与现代特色。对民族传统文化的继承是必要的,也是必须的。“传统”是个复杂的词,是实践长河里冲不掉的东西。“装帧”还没有形成深厚传统。传统的东西并不都好,但好的东西一定要有传统精神。
《家庭书架丛书》的装帧设计是建立在中国的“书卷气”的基础之上,它代表着在书籍发展历史上的一种文化,其内涵是讲究气韵。品位的审美方式,也是“书卷气”内涵的精华所在。与西方审美观念中注重外在、实体,注重分析的观念不同,中华民族的审美观念更加注重美的气韵,以及把握在茫茫宇宙中静观凝神的节奏。如何在书籍装帧设计中弘扬民族文化,使之更加具有书卷气?如何实现书籍设计的外在美观与内在功能的和谐统一,使之更有品位?都是值得书籍装帧的设计者去研究和思考的问题。就像一杯典雅四溢的佳酿,书籍的装帧设计,就被寄予了这个时代所特有的人们的高尚文化情操、艺术追求和审美理想,并经得起细细的品位和时间的考验。
华夏文明博大精深,《家庭书架丛书》的装帧设计是以其独特的文化底蕴一脉相传,先后运用不同的思维及手法将民族气质呈现出来,从而使书籍装帧的民族风格都呈现出古朴,简约,淡雅的美。
《家庭书架丛书》的装帧设计按照设计规律和美的形式法则来进行创造,同时受书籍内容的制约,也根据书籍的内容来进行高度的艺术概括,以读者喜闻乐见的形式进行设计和创造。文化内涵和艺术的格调高低,决定了书籍装帧设计的文化品位,我按照设计流程,通过对《家庭书架丛书》整体形态的设计分析,来研究传统文化在现代书籍装帧设计中的应用。我在设计的过程中,有较完整的设计思路,同时讲究格调及总体观念,以自己的色彩,结构,构图来形成一种视觉秩序。
不断发展的社会和文化给我们装帧设计带来了新的机遇与挑战,展望未来,中国的装帧艺术设计正向着一个可持续性的方向发展,在发展传统文化,对本土艺术语言继承的基础上,也应吸收外来文化,在全球化的艺术大环境下进行对现代审美趋势和现代艺术实验性的探索,将传统文化与现代文明融为一体,从而促进社会文明进步,提高全民的视觉文化素质,为民族文化的复兴与发展,做出重要的贡献。总体来说,中国书籍装帧设计还任重而道远。
Books are products of human thoughts exchanging, and also tools to disseminate knowledge and deposit culture. Books, since the birth of human civilization, have become the carrier to express thoughts and emotions because of its’big load of information, and has become one part of our life because of its’unique artistic charm. Books physical make-up was born along with the birth of books, and is developing with the progress of times. With the raise of people’s aesthetics consciousness, people start to focus not only on books’practical function, but also start to consider its’aesthetics value of its’own from many aspects like arts, techniques, so, it’s of positive meaning to analyze books’physical make-up aesthetics characteristics. Books’physical make-up aesthetics characteristics is epochal, progressive development of aesthetical idea makes people to begin researches that are of practical meaning in order to better guide practical physical make-up design. Only artistic design of books’physical make-up that are based on aesthetics characteristics can produce good-taste physical make-up works.
Books are carrier of knowledge, and books physical make-up belongs to the field of arts. China traditional books physical make-up has an important position in make-up design history。For more than 2000 years, China books physical make-up has formed characteristics like simple and unsophisticated, elegant and practical which are unique in eastern countries. Books are not only carrier of words information, but also a media to pass inner information; it’s the task of books physical make-up to design according to books’structure and formation. Early book form is much different from today’s, in different eras, the connotation of books physical make-up is different also。therefore, when studying books physical make-up arts, development of language, character, culture, arts, science and technology in different eras should be taken into consideration, especially it should be connected with the economic level- material condition and technology condition, it can’t develop solely without books itself.
Chinese people has formed its’unique culture tradition in the long history. As a way to pass on this culture, books physical make-up realizes its ethnic style and modern characteristic through its’unique words of arts to carry forward the kernel of traditional culture. Household Bookcase series made use of its unique artistic language to carry forward the essence of traditional culture, to realize a combination of national style and modern characteristics of books design So it’s necessary to pass on traditional ethnic culture. Tradition is a complicated word with so many meanings, though books physical make-up has not become a deep tradition yet. Not all traditional things are good, but all good things must be traditional.
The books design of Household Bookcase series is based on Chinese Bookish and represents a culture of books development history which emphasize on Qiyun. The way of aesthetic with taste is also the place where the essence of Bookish exists. Different from western aesthetics ideas which emphasize externality, entity and analysis; Chinese aesthetics ideas pay more attention to Qi and meditation. How to make books physical make-up to carry forward Chinese culture to be more bookish? How to coordinate the outer beauty and inner function to make them become harmonious? They are all questions which deserve the designers’researches and practices. The books design of Household Bookcase series embodies the nobly culture sentiment, artistic pursuit and aesthetics idea, which can go through examination of time.
Chinese culture is both extensive and profound, which pass on its unique cultural characters by artists of different generations using different ways of thinking and practice to show this ethnic quality. In this way I can make the books physical make-up simple and unsophisticated, elegant and practical.
The book was designed according to the rules and laws of beauty and by the way of catering to the favorite taste of people. At the same time, it was governed by and highly artistically generalized according to its content. The culture connotation and artistic taste decide the culture taste of books design; According to design flow, I research the application of traditional culture in modern design by analyzing the whole situation of design. I have a complete thought in the process of design and pay more attention to taste and whole idea so as to create a visual order with my own color, molding and composition.
Continuous development of the society and culture bring books design a new chance and challenge, Chinese design arts is developing in a sustainable way. On the base of furthering traditional culture and carrying away local artistic language, we should also absorb foreign culture, to explore the modern aesthetics trend and modern artistic experimental under the big artistic environment of globalization, to combine traditional culture and modern culture, thus make contribution to the progress of social culture, to level up visual quality of the people, to the renaissance of the people. In a word, Chinese books designs have a long way to go.
引文
①林同华着:《审美文化学》,东方出版社1992年版
①鲁.阿恩海姆:《视觉思维》四川人民出版社1998年版
①朱狄着:《当代西方美学》,武汉大学出版社2007年8月版第12页
①阿恩海姆着《视觉思维》,四川人民出版社1998年版
[1]林同华著:《审美文化学》,东方出版社1992年版
[2]黑格尔著:《美学》,商务印书馆1979年版,第一卷
[3]鲁·阿恩海姆:《视觉思维》,四川人民出版社1998年版
[4]鲁·阿恩海姆:《视觉思维》,四川人民出版社1998年版
[5]朱狄着:《当代西方美学》,武汉大学出版社2007年8月版第12页
[1]李致忠.古书版本学概论.北京:书目文献出版社,1990版。
[2]杉浦康平.疾风迅雷·杉浦康平杂志设计的半个世纪.北京:生活.读书.新知三联书店,2006年11月版。
[3]杉浦康平.亚洲的书籍、文字与设计.北京:生活.读书.新知三联书店,2006年11月版。
[4]邓中和.书籍装帧创意设计.北京:中国青年出版社,2004年1月版。
[5]杨永德.中国古代书籍装帧.北京:人民美术出版社,2006年4月版。
[6] [日]P.I.E BOOKS.国际书籍装帧设计.北京:中国青年出版社,2002年10月版。
[7]毛德宝书籍设计.上海:上海画报出版社,2005版。
[8]邱陵书籍装帧艺术史.重庆:重庆出版社,1990年版。
[9] [德]汉斯·彼得.维尔堡.发展中的书籍艺术.北京:人民美术出版社,1997年版。
[10]余秉楠.书籍装帧设计.哈尔滨:黑龙江美术出版社,1995.12版。
[11]魏隐儒.中国古籍印刷史.北京:印刷工业出版社,1988年版。
[12]吴寿林.书籍装帧大词典.上海:东华大学出版社,2003年版。
[13]吕敬人.敬人书籍设计2号.北京:电子工业出版社,2002年版。
[14]中国现代美术全集编辑委员会.中国现代美术全集·书籍装帧.北京:人民美术出版社北京工艺美术出版社,1998年版。
[15]尹章伟,王武林,尹锋.书籍设计.北京:印刷工业出版社,2006年6月版。
[16]张森.书籍形态设计.北京:中国纺织出版社,2006年5月版。
[17]孟卫东,王玉敏.书籍装帧.安徽:安徽美术出版社,2007年7月第1版。
[18]孙艳,童翠萍.书衣翩翩.北京:生活.读书.新知三联书店,2006年9月版。
[19]欧美新设计分类图库.样本及促销设计.上海:上海人民美术出版社,2006年1月版。
[20]陈建郧.现代设计元素版式设计.广西:广西美术出版社,2006年7月版。
[21]吕敬人.书艺问道中国青年出版社,2006年10月版。
[22]吕敬人.敬人书籍设计.吉林:吉林美术出版社,2004年12月版。
[23]上海鲁迅纪念馆中国美术家协会上海分会.鲁迅与书籍装帧.上海:上海人民美术出版社,1981年版。
[24]李致忠.中国古代书籍史话.商务印务馆,1994年版。
[25]日本P?I?E编辑部夏晞译.国际书籍装帧设计精品集.北京:中国青年出版社,2002年版。
[26] [法]弗雷德里克?巴比耶刘阳译.书籍的历史.广西:广西师范大学出版社,2005年版。
[27]王汀,杨文仁.时尚杂志版面设计.广州:广东人民出版社,2006版。
[28]曹琳.书籍装帧创意与设计.武汉:武汉理工大学出版社,2005版。
[28]张鹰,李书敏.工艺雕刻.重庆:重庆出版社,2001版。
[29]叶平安.古建筑砖木雕刻图案.人民美术出版社,1997版。
[30]王勇.中日『书籍之路』研究.北京:北京图书馆出版社,2003版。
[31]姜德明.书衣百影:中国现代书籍装帧选:1906-1949.北京:三联书店,1999版。
[32]孙彤辉.书装设计.上海:上海人民美术出版社,2004版。
[33] [美] Roger Fawcett-Tang Caroline Roberts马丽李亮译.现代图书设计.中国水利水电出版社,2005年版。