本文選題：產(chǎn)品設(shè)計(jì) + 運(yùn)用��； 參考：《重慶大學(xué)》2014年碩士論文

【摘要】：貴州苗族蠟染文化歷史悠久，是我國(guó)著名的“蠟染之鄉(xiāng)”，并且被國(guó)家評(píng)為首批非物質(zhì)文化遺產(chǎn)，其歷史可追溯到3000年前的秦漢時(shí)期。它是及傳統(tǒng)文化與民間藝術(shù)為一體的大山瑰寶。貴州苗族蠟畫源生于蠟染技藝，作為一種傳統(tǒng)的工藝美術(shù)品種，逐漸被人們認(rèn)知和喜愛。苗族民間藝人在繪蠟的過程中，美麗圖案已現(xiàn)初形的過程使之蠟畫應(yīng)運(yùn)而生。 首先通過對(duì)貴州苗族、蠟染以及蠟畫的歷史脈絡(luò)進(jìn)行梳理性研究，探究苗族蠟畫的起源，為后續(xù)研究奠定歷史的基礎(chǔ)。然后闡述貴州苗族蠟畫的紋飾特點(diǎn)與圖騰崇拜，進(jìn)而分析它們的紋飾造型與圖騰內(nèi)涵,具有極高的文化藝術(shù)價(jià)值，并且提出將民族特色的圖騰紋飾運(yùn)用到現(xiàn)代產(chǎn)品設(shè)計(jì)中會(huì)讓現(xiàn)代產(chǎn)品呈現(xiàn)出怎樣的設(shè)計(jì)效果。其次使用分類歸納法與堤階式比較法論述了貴州苗族蠟畫紋飾在家居用品設(shè)計(jì)、服裝服飾設(shè)計(jì)及工藝品設(shè)計(jì)中的運(yùn)用，進(jìn)而分析了人們對(duì)蠟畫紋飾產(chǎn)生的審美新變化，研究出傳統(tǒng)與現(xiàn)代相結(jié)合的碰撞理論，生產(chǎn)出更加符合現(xiàn)代人審美需求的創(chuàng)新產(chǎn)品，并且讓民族的精神內(nèi)涵滲透進(jìn)人們的審美意識(shí)。而后總結(jié)出貴州蠟畫紋飾在產(chǎn)品設(shè)計(jì)中的現(xiàn)代轉(zhuǎn)換及其運(yùn)用優(yōu)勢(shì)，，關(guān)注苗族蠟畫紋飾運(yùn)用現(xiàn)代的設(shè)計(jì)手法將其進(jìn)行圖形轉(zhuǎn)換、色彩轉(zhuǎn)換、立體轉(zhuǎn)換以及材質(zhì)轉(zhuǎn)換；通過對(duì)貴州苗族蠟畫的文獻(xiàn)分析與田野調(diào)查，深刻探究了文化審美的標(biāo)志性與紋飾藝術(shù)的獨(dú)特性等優(yōu)勢(shì)。最后運(yùn)用所得理論及方法進(jìn)行創(chuàng)新性實(shí)踐，形成學(xué)術(shù)研究與創(chuàng)新設(shè)計(jì)為一體的系統(tǒng)性研究，論證了貴州苗族蠟畫紋飾在多元化的產(chǎn)品設(shè)計(jì)中運(yùn)用的可行性與延展性。這樣的設(shè)計(jì)既符合現(xiàn)代人的審美韻味，又引領(lǐng)國(guó)際時(shí)尚潮流，是審美與功能相結(jié)合的作品。 通過研究貴州苗族蠟畫紋飾在現(xiàn)代產(chǎn)品設(shè)計(jì)中的運(yùn)用，讓民族傳統(tǒng)工藝得到傳承與發(fā)揚(yáng)的同時(shí)，也給現(xiàn)代產(chǎn)品設(shè)計(jì)輸入了新鮮血液，體現(xiàn)了新型民族風(fēng)產(chǎn)品中傳統(tǒng)文化的內(nèi)涵、民族文化的情調(diào)和自然美的意境。
[Abstract]:Guizhou Miao batik culture has a long history and is a famous "batik town" in China. It has been named as the first batch of intangible cultural heritage by the state. Its history can be traced back to the Qin and Han dynasties about 3000 years ago. It is and traditional culture and folk art as one of the mountain treasure. Guizhou Miao wax painting originated from batik art, as a kind of traditional arts and crafts, is gradually recognized and loved by people. Miao folk artists in the process of wax painting, the beautiful pattern has appeared in the process of wax painting came into being. Firstly, through combing the historical context of Guizhou Miao nationality, batik and wax painting, the origin of the Miao nationality wax painting is explored, which lays a historical foundation for the follow-up study. Then it expounds the decorative characteristics and totem worship of the wax paintings of Miao nationality in Guizhou, and then analyzes their patterns and totem connotation, which has a very high cultural and artistic value. And put forward how to apply totem ornaments with national characteristics to modern product design. Secondly, the paper discusses the application of wax painting patterns of Miao nationality in household products design, clothing design and handicraft design by means of classification induction and levee comparison, and then analyzes the new aesthetic changes of wax painting patterns. This paper studies the collision theory of the combination of tradition and modern, produces innovative products that meet the aesthetic needs of modern people, and lets the spiritual connotation of the nation permeate into people's aesthetic consciousness. Then summarizes the Guizhou wax painting patterns in the product design of the modern transformation and its application advantages, pay attention to Miao wax painting pattern transformation, color transformation, three-dimensional transformation and material conversion using modern design techniques; Based on the literature analysis and field investigation of wax paintings of Miao nationality in Guizhou, this paper probes into the advantages of cultural aesthetics and the uniqueness of decorative art. At last, the author uses the theory and method to carry on the innovative practice, forms the academic research and the innovation design as a whole, and proves the feasibility and the ductility of Guizhou Miao wax painting pattern applied in the diversified product design. This design not only conforms to the aesthetic appeal of modern people, but also leads the international fashion trend. It is a combination of aesthetics and function. By studying the application of wax painting patterns of Miao nationality of Guizhou in the design of modern products, while passing on and carrying forward the traditional techniques of the nation, it also gives fresh blood to the modern product design and embodies the connotation of the traditional culture in the new national style products. The sentiment of national culture and the artistic conception of natural beauty.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：TB472;J523

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本文編號(hào)：1946851