本文選題：唐文化 + 符號(hào)　； 參考：《陜西科技大學(xué)》2013年碩士論文

【摘要】：西安是我們古代所說(shuō)的長(zhǎng)安。由于盛唐時(shí)期經(jīng)濟(jì)十分發(fā)達(dá)，吸引了許多外地使節(jié)來(lái)我國(guó)交流學(xué)習(xí)，長(zhǎng)安城成為當(dāng)時(shí)世界文化的交流中心，所以唐文化成為西安最有代表性的文化之一。而公共照明系統(tǒng)在城市形象的塑造中又起到非常重要的作用，故本文選題盛唐文化符號(hào)在西安公共照明系統(tǒng)設(shè)計(jì)中的應(yīng)用。盛唐文化符號(hào)作為盛唐文化精神的載體，其外在的視覺(jué)表現(xiàn)具有當(dāng)時(shí)社會(huì)鮮明的特征，設(shè)計(jì)師需要將這些特征進(jìn)行放大處理，找到與現(xiàn)代照明系統(tǒng)設(shè)計(jì)相契合的點(diǎn)進(jìn)行結(jié)合，創(chuàng)作出既有唐文化內(nèi)涵又符合現(xiàn)代審美的藝術(shù)作品。 在了解文化的概念和符號(hào)學(xué)的基礎(chǔ)之上，，對(duì)文化符號(hào)進(jìn)行了概述和解釋?zhuān)缓髮?duì)盛唐文化及其藝術(shù)風(fēng)格做了簡(jiǎn)單地?cái)⑹�。分別從陶瓷、染織、金銀器、漆器、雕刻、壁畫(huà)圖案六個(gè)方面對(duì)盛唐文化符號(hào)進(jìn)行梳理，這些傳統(tǒng)藝術(shù)品上承載著各式各樣豐富的文化符號(hào)正是西安公共照明系統(tǒng)設(shè)計(jì)中所應(yīng)用盛唐文化符號(hào)的靈感來(lái)源。 通過(guò)對(duì)“大雁塔北廣場(chǎng)”與“大唐芙蓉園”的公共照明系統(tǒng)的分析，歸納總結(jié)出盛唐文化符號(hào)在融入到西安公共照明系統(tǒng)設(shè)計(jì)中時(shí)，需要遵循的設(shè)計(jì)流程和符號(hào)的應(yīng)用方法。在深入了解景區(qū)主題文化之后，確定整個(gè)景區(qū)的主題藝術(shù)風(fēng)格。對(duì)所選取的盛唐文化符號(hào)進(jìn)行變形重組等設(shè)計(jì)，使其能與現(xiàn)代公共照明工藝技術(shù)相結(jié)合。按照公共照明系統(tǒng)設(shè)計(jì)的基本原則將盛唐文化符號(hào)應(yīng)用到現(xiàn)代景觀(guān)照明系統(tǒng)中。設(shè)計(jì)師對(duì)景區(qū)的文化、符號(hào)的內(nèi)涵應(yīng)當(dāng)有深入而充分的了解，結(jié)合現(xiàn)代國(guó)際化的審美特點(diǎn)，對(duì)符號(hào)進(jìn)行再創(chuàng)作，避免簡(jiǎn)單的組合應(yīng)用。 在本篇文章的最后，筆者重點(diǎn)對(duì)唐文化符號(hào)在照明系統(tǒng)中的應(yīng)用方法做了詳細(xì)的說(shuō)明。首先從符號(hào)的造型運(yùn)用進(jìn)行說(shuō)明，通過(guò)直接運(yùn)用、重組變形兩種設(shè)計(jì)手法進(jìn)行詳細(xì)的說(shuō)明。然后再對(duì)唐文化符號(hào)所傳承的盛唐精神思想和時(shí)代審美方面，對(duì)現(xiàn)代的照明系統(tǒng)設(shè)計(jì)進(jìn)行了分析。使的現(xiàn)代照明系統(tǒng)設(shè)計(jì)從形似到神韻再到意境都流露出盛唐文化的風(fēng)格特點(diǎn)，使景觀(guān)公園的文化氛圍渲染的更加到位。最后結(jié)合現(xiàn)代照明科技的發(fā)展方向，試論了照明系統(tǒng)的設(shè)計(jì)發(fā)展趨向。
[Abstract]:Xi'an is what we called Changan in ancient times. Because the economy was very developed during the prosperous Tang Dynasty, many foreign envoys came to our country to exchange and study, and Changan City became the center of the world culture at that time, so the Tang culture became one of the most representative cultures in Xi'an. The public lighting system plays a very important role in shaping the image of the city, so this paper chooses the application of the cultural symbol of the prosperous Tang Dynasty in the design of Xi'an public lighting system. As the carrier of the cultural spirit of the prosperous Tang Dynasty, its external visual expression has the distinctive characteristics of the society at that time. Designers need to enlarge and deal with these characteristics to find the points that fit with the design of the modern lighting system. Create both Tang culture connotation and modern aesthetic works of art. On the basis of understanding the concept of culture and semiotics, this paper summarizes and explains the cultural symbols, and then makes a brief description of the culture and its artistic style in the prosperous Tang Dynasty. Respectively from the ceramic, dyeing and weaving, gold and silver ware, lacquer ware, sculpture, murals, six aspects of the cultural symbols of the prosperous Tang Dynasty were combed. These traditional works of art carry a variety of cultural symbols which are the inspiration source of the cultural symbols used in the design of Xi'an public lighting system. Based on the analysis of the public lighting system of "the North Square of the Big Wild Goose Pagoda" and "Datang Furong Garden", this paper sums up the design flow and the application method of the symbol when the cultural symbol of the prosperous Tang Dynasty is integrated into the design of Xi'an public lighting system. After deeply understanding the theme culture of the scenic spot, determine the theme art style of the whole scenic spot. The selected symbols of the prosperous Tang Dynasty are designed to be combined with modern public lighting technology. According to the basic principles of public lighting system design, the symbol of prosperous Tang Dynasty culture is applied to modern landscape lighting system. Designers should have a deep and full understanding of the culture of scenic spots and the connotation of symbols. Combining with the aesthetic characteristics of modern internationalization, the designers should re-create symbols and avoid simple combination and application. At the end of this paper, the author explains the application of Tang culture symbol in lighting system in detail. First of all, the use of symbols from the modeling to explain, through direct use, reconstruction and deformation of the two design techniques to explain in detail. Then, it analyzes the modern lighting system design on the spiritual thought and aesthetic aspect of the prosperous Tang Dynasty inherited by the symbol of Tang culture. The design of modern lighting system shows the style characteristics of the prosperous Tang culture from shape to charm to artistic conception, so that the cultural atmosphere of landscape park is rendered more in place. Finally, combined with the development direction of modern lighting technology, the design trend of lighting system is discussed.
【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：TU113.66;G122

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