基于女裝設(shè)計(jì)的中西方剪紙藝術(shù)對比研究
發(fā)布時(shí)間：2019-05-12 13:43
【摘要】：目前，世界的剪紙基本上可分為東、西兩大派別，筆者分別選取了其中最具代表性的中國民間剪紙和德、法、英等國的歐洲剪紙進(jìn)行系統(tǒng)的理論研究，在研究西方剪紙基礎(chǔ)上借鑒其傳承模式，提取其思維特征和在女裝應(yīng)用中的設(shè)計(jì)語言；在研究中國民間剪紙的基礎(chǔ)上，“取其形”，“延其意”，然后結(jié)合西方的思維設(shè)計(jì)理念，將中國民間剪紙運(yùn)用在現(xiàn)代女裝設(shè)計(jì)之中，從而促進(jìn)中國民間剪紙的傳承和中國民族服裝品牌化。 民間剪紙?jiān)谖覈陌l(fā)展歷程已過千年，蘊(yùn)含了濃厚的民族文化。實(shí)用性和裝飾性兼?zhèn)涞闹袊耖g剪紙出自質(zhì)樸的民間藝人或農(nóng)民之手，體現(xiàn)了其集體性、傳承性、擴(kuò)散性等特征。在受到中國傳統(tǒng)思維及中國人含蓄民族性格的影響下，民間剪紙呈現(xiàn)了其特殊民俗特征。而以德、法、英為代表的歐洲剪紙是以中國剪紙為母體在16、17世紀(jì)傳入歐洲。與中國剪紙完全不同的是最初的歐洲剪紙是有社會(huì)地位的女性在空閑時(shí)間里的藝術(shù)創(chuàng)造，后來它又受到西方古典主義藝術(shù)文化、現(xiàn)代主義主義文化、后現(xiàn)代主義藝術(shù)文化的影響以及與其它藝術(shù)形式風(fēng)格的融合，產(chǎn)生了別具一格的特征。筆者對中國、歐洲剪紙進(jìn)行系統(tǒng)詳實(shí)的理論對比性總結(jié)，，并發(fā)掘其在文化、地域背景下的本質(zhì)內(nèi)涵，填補(bǔ)歐洲剪紙理論研究的空白現(xiàn)狀，也提取了西方獨(dú)特的思維特征，為中國民間剪紙?jiān)诂F(xiàn)代女裝設(shè)計(jì)中的應(yīng)用打下基礎(chǔ)。 民間剪紙藝術(shù)文化是中華文明的重要組成部分，只有保護(hù)、傳承好民間剪紙，才能夠使中國傳統(tǒng)文化更加輝煌。我們應(yīng)該學(xué)習(xí)歐洲剪紙藝術(shù)的傳承模式，大膽而創(chuàng)新的突破剪紙?jiān)谐叨确秶�，讓剪紙與現(xiàn)代的生活互為融合，才能讓中國民間剪紙真正隨著現(xiàn)代人的步調(diào)繼續(xù)傳承下去，達(dá)到剪紙文化的繁榮復(fù)蘇。 運(yùn)用交叉學(xué)科的方式無疑有利于解決我們面臨的剪紙傳承問題，而選擇服裝實(shí)用裝設(shè)計(jì)與剪紙的融合，也將有利于把我國具有民族化的服裝設(shè)計(jì)推向世界，使之形成品牌化、產(chǎn)業(yè)化，擺脫我國服裝設(shè)計(jì)“模仿”現(xiàn)狀。筆者就順應(yīng)這一趨勢，在提取西方剪紙的思維特征和西方剪紙?jiān)谂b應(yīng)用中的設(shè)計(jì)語言的基礎(chǔ)上將中國民間剪紙延展其內(nèi)涵，提取其形狀然后應(yīng)用到現(xiàn)代實(shí)用女裝設(shè)計(jì)之中，從而總結(jié)出一套切實(shí)可行的設(shè)計(jì)理論。在設(shè)計(jì)理念的指導(dǎo)下針對20—30年齡層的女性進(jìn)行實(shí)踐設(shè)計(jì)及成品制作，最終提升和豐富其結(jié)合的理論分析，為指導(dǎo)剪紙的服裝設(shè)計(jì)實(shí)踐提出強(qiáng)而有力的理論支撐。
[Abstract]:At present, the world's paper-cut can basically be divided into East and West two major factions, the author selected the most representative of the Chinese folk paper-cut and Germany, France, Britain and other countries of the European paper-cut for a systematic theoretical study. On the basis of studying western paper-cut, draw lessons from its inheritance mode, extract its thinking characteristics and design language in the application of women's clothing; On the basis of studying the Chinese folk paper-cut, "take its shape", "extend its meaning", and then combine the western thinking design idea, apply the Chinese folk paper-cut to the modern women's dress design. Thus promote the inheritance of Chinese folk paper-cut and Chinese national clothing brand. The development of folk paper-cut in our country has been over a thousand years, which contains a strong national culture. Chinese folk paper-cut, which is both practical and decorative, comes from the hands of simple folk artists or farmers, which embodies the characteristics of collectivity, inheritance, diffusion and so on. Influenced by the Chinese traditional thinking and the implicit national character of the Chinese people, the folk paper-cut presents its special folk custom characteristics. The European paper-cut represented by Germany, France and Britain was introduced into Europe in the 16th and 17th centuries with Chinese paper-cut as its parent. Completely different from Chinese paper-cut, the original European paper-cut was the artistic creation of women with social status in their free time, and later it was subjected to western classical art culture and modernist culture. The influence of post-modernism art culture and the fusion with other art forms and styles have produced unique characteristics. The author makes a systematic and detailed theoretical comparative summary of Chinese and European paper-cut, and explores its essential connotation under the cultural and regional background, fills in the blank status quo of European paper-cut theory research, and also extracts the unique thinking characteristics of the West. It lays a foundation for the application of Chinese folk paper-cut in modern women's dress design. Folk paper-cut art and culture is an important part of Chinese civilization. Only by protecting and inheriting folk paper-cut can Chinese traditional culture be more brilliant. We should learn the inheritance mode of European paper-cut art, boldly and innovatively break through the original scale of paper-cut, so that paper-cut and modern life can be integrated with each other, so that Chinese folk paper-cut can really continue to inherit with the pace of modern people. To achieve the prosperity and recovery of paper-cut culture. The use of cross-disciplinary approach is undoubtedly conducive to solving the paper-cut inheritance problem we are facing, and the choice of practical clothing design and paper-cut integration will also be conducive to the nationalization of China's clothing design to the world, so that it will form a brand. Industrialization, get rid of our country clothing design "imitation" present situation. In accordance with this trend, on the basis of extracting the thinking characteristics of western paper-cut and the design language of western paper-cut in women's clothing application, the author extends the connotation of Chinese folk paper-cut, abstracts its shape and applies it to modern practical women's clothing design. Thus a set of feasible design theory is summarized. Under the guidance of the design concept, the practical design and finished product production are carried out for the women of 20 / 30 age group, and the theoretical analysis of the combination is finally promoted and enriched, which puts forward a strong and powerful theoretical support for guiding the clothing design practice of paper-cut.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J528.1
本文編號：2475435
[Abstract]:At present, the world's paper-cut can basically be divided into East and West two major factions, the author selected the most representative of the Chinese folk paper-cut and Germany, France, Britain and other countries of the European paper-cut for a systematic theoretical study. On the basis of studying western paper-cut, draw lessons from its inheritance mode, extract its thinking characteristics and design language in the application of women's clothing; On the basis of studying the Chinese folk paper-cut, "take its shape", "extend its meaning", and then combine the western thinking design idea, apply the Chinese folk paper-cut to the modern women's dress design. Thus promote the inheritance of Chinese folk paper-cut and Chinese national clothing brand. The development of folk paper-cut in our country has been over a thousand years, which contains a strong national culture. Chinese folk paper-cut, which is both practical and decorative, comes from the hands of simple folk artists or farmers, which embodies the characteristics of collectivity, inheritance, diffusion and so on. Influenced by the Chinese traditional thinking and the implicit national character of the Chinese people, the folk paper-cut presents its special folk custom characteristics. The European paper-cut represented by Germany, France and Britain was introduced into Europe in the 16th and 17th centuries with Chinese paper-cut as its parent. Completely different from Chinese paper-cut, the original European paper-cut was the artistic creation of women with social status in their free time, and later it was subjected to western classical art culture and modernist culture. The influence of post-modernism art culture and the fusion with other art forms and styles have produced unique characteristics. The author makes a systematic and detailed theoretical comparative summary of Chinese and European paper-cut, and explores its essential connotation under the cultural and regional background, fills in the blank status quo of European paper-cut theory research, and also extracts the unique thinking characteristics of the West. It lays a foundation for the application of Chinese folk paper-cut in modern women's dress design. Folk paper-cut art and culture is an important part of Chinese civilization. Only by protecting and inheriting folk paper-cut can Chinese traditional culture be more brilliant. We should learn the inheritance mode of European paper-cut art, boldly and innovatively break through the original scale of paper-cut, so that paper-cut and modern life can be integrated with each other, so that Chinese folk paper-cut can really continue to inherit with the pace of modern people. To achieve the prosperity and recovery of paper-cut culture. The use of cross-disciplinary approach is undoubtedly conducive to solving the paper-cut inheritance problem we are facing, and the choice of practical clothing design and paper-cut integration will also be conducive to the nationalization of China's clothing design to the world, so that it will form a brand. Industrialization, get rid of our country clothing design "imitation" present situation. In accordance with this trend, on the basis of extracting the thinking characteristics of western paper-cut and the design language of western paper-cut in women's clothing application, the author extends the connotation of Chinese folk paper-cut, abstracts its shape and applies it to modern practical women's clothing design. Thus a set of feasible design theory is summarized. Under the guidance of the design concept, the practical design and finished product production are carried out for the women of 20 / 30 age group, and the theoretical analysis of the combination is finally promoted and enriched, which puts forward a strong and powerful theoretical support for guiding the clothing design practice of paper-cut.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J528.1
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 洪磊;;傳承民間剪紙的藝術(shù)魅力[J];大舞臺(tái)(雙月號);2008年01期
2 劉永庭;;中國民間剪紙藝術(shù)文化現(xiàn)狀[J];大眾文藝(理論);2009年16期
3 楊千里;;民間剪紙現(xiàn)代轉(zhuǎn)型的思考[J];大眾文藝(理論);2009年18期
4 王忠興;肖海;盧宇;;中國非物質(zhì)文化遺產(chǎn)剪紙藝術(shù)的知識(shí)產(chǎn)權(quán)保護(hù)[J];華東交通大學(xué)學(xué)報(bào);2008年05期
5 李岳;唐棣;;基于裝飾紋樣的剪紙圖案設(shè)計(jì)方法[J];計(jì)算機(jī)工程;2010年21期
6 張婷;;在當(dāng)今服裝設(shè)計(jì)教育中弘揚(yáng)民間美術(shù)[J];科教文匯(上旬刊);2010年04期
7 饒秀光;;剪紙的現(xiàn)代化演變[J];美術(shù)大觀;2007年09期
8 田茂軍;楊千里;;民間剪紙面臨的現(xiàn)代轉(zhuǎn)型分析[J];民族論壇;2010年02期
9 屠珍菀;;淺談中國傳統(tǒng)藝術(shù)——刺繡[J];科技風(fēng);2011年20期
10 沈雷;郭萌萌;;民間剪紙?jiān)卦诮z綢服裝設(shè)計(jì)中的應(yīng)用[J];絲綢;2011年07期
相關(guān)碩士學(xué)位論文 前3條
1 別淑花;剪紙藝術(shù)的形式特征及象征意蘊(yùn)[D];山東師范大學(xué);2010年
2 王磊;現(xiàn)代色彩設(shè)計(jì)中的民族性[D];蘇州大學(xué);2005年
3 陳慧慧;剪紙圖式語言的實(shí)踐性研究[D];中南民族大學(xué);2009年
本文編號：2475435
本文鏈接：http://sikaile.net/jingjilunwen/lyjj/2475435.html
最近更新
教材專著
