本文選題：書法 + 空間��； 參考：《山東建筑大學(xué)》2013年碩士論文

【摘要】：書法是一門在我國有很久歷史的文化藝術(shù),它的起源與發(fā)展是伴隨著華夏文明的進步而共同進步的,書法的藝術(shù)性和文化性已然深深地融入了我們的血液中,在眾多民族藝術(shù)中獨領(lǐng)風(fēng)騷。長期以來,書法一詞已經(jīng)不單單是指純粹的書寫活動,更是指中華民族精神的歷史延伸。因此,旅居法國的華人藝術(shù)家熊秉明先生曾說：“書法是中國文化核心中的核心�！睍ㄖ缘玫饺藗冪姁鄣囊粋�重要原因,除去它具備極高的藝術(shù)性之外,還有它與生俱來的普遍性。與其他藝術(shù)相比,書法的門檻可以說是最低的,只要識字的人都可以拿起毛筆走近它、感受它,甚至單純的凝視它都可以獲得美的享受。 從古至今,流傳下來的書法作品可謂數(shù)不勝數(shù),除了書寫在竹簡、絲帛、紙張等載體上的作品之外,還有大量依附于其他媒介的作品形式得以留存,其中被應(yīng)用于空間界面中的數(shù)量亦十分豐富。這類書法作品不僅為我們研究書法藝術(shù)提供了優(yōu)質(zhì)的資源,我們還可以從古人的應(yīng)用實踐中提取出有價值的信息,這對指導(dǎo)現(xiàn)代設(shè)計有極大的幫助作用,這一點在提倡設(shè)計民族性的今天具有非常積極的意義。 有簽于此,筆者選擇了“書法元素在空間界面設(shè)計中的應(yīng)用研究”這樣一個課題,以書法元素的應(yīng)用為切入點,對空間界面設(shè)計中的應(yīng)用進行系統(tǒng)化的分析。本文中所選擇的的書法元素除了以漢字為基礎(chǔ)的書法符號之外,還包括書法元素中非常重要的時空觀念,既有關(guān)于書法這一字形符號的應(yīng)用研究,還包括書法的結(jié)構(gòu)、形式、精神內(nèi)涵和它的審美特征等元素對空間界面設(shè)計的啟發(fā)性探索,從而為書法這一傳統(tǒng)藝術(shù)在現(xiàn)代語境下的發(fā)展、應(yīng)用提供進一步的理論基礎(chǔ)和依據(jù)。 本文主要分為以下幾個部分： 第一章為緒論,包括課題的來源、研究的目的及意義,介紹了國內(nèi)外外的研究現(xiàn)狀,對研究的主要內(nèi)容和方法進行了簡要的闡述。 第二章主要是對書法元素在古代空間界面的應(yīng)用情況進行梳理,分為古代建筑構(gòu)架界面、古代建筑附屬構(gòu)架界面和古代器物與家具構(gòu)架界面這三部分內(nèi)容,選取古代在應(yīng)用書法元素方面的精華內(nèi)容進行研究,為引出下文做出鋪墊。 第三章是本文的重點章節(jié),將書法元素在現(xiàn)代空間界面設(shè)計中的應(yīng)用細(xì)分成在現(xiàn)代建筑界面、現(xiàn)代景觀界面及現(xiàn)代室內(nèi)空間界面這三部分進行分析。在肯定設(shè)計應(yīng)用成功之處的同時,也指出了前存在的問題,以大量的圖片實例和筆者的設(shè)計實踐總結(jié)出了書法元素的應(yīng)用價值和應(yīng)用方法。 第四章是本文研究的另外一個重點,將書法元素中的結(jié)構(gòu)、章法、神采與空間界面設(shè)計進行關(guān)聯(lián)性研究,希望通過不同藝術(shù)門類在藝術(shù)思想上的交叉融合,為各自相對封閉的藝術(shù)系統(tǒng)帶來發(fā)展的生機。 第五章內(nèi)容以應(yīng)用分析為主,在筆者通過研究課題所取得的成果之上，對一個設(shè)計案例的分析來證明筆者的論點。 第六章作為本文的結(jié)論部分,對前五章的研究成果進行歸納和總結(jié),以便更好的傳承傳統(tǒng)文化,做到古為今用。 本文的寫作目的是希望通過本課題的研究成果為書法元素在空間界面設(shè)計中的應(yīng)用提供理論依據(jù)和發(fā)展參考,竭力挖掘傳統(tǒng)文化的現(xiàn)代價值,使傳統(tǒng)文化更好地為現(xiàn)代設(shè)計服務(wù),為與本課題相美的設(shè)計與研究工作提供更多可借鑒的參考資料,并期望引起更多設(shè)計師和學(xué)者對本課題的興趣。
[Abstract]:Calligraphy is a long history of culture and art in our country. Its origin and development are progresses together with the progress of Chinese civilization. The artistic and cultural character of calligraphy has been deeply integrated into our blood and in many ethnic art. For a long time, the word "calligraphy" is not only a pure writing. Activity is the historical extension of the spirit of the Chinese nation. Therefore, Mr. Xiong Bingming, a Chinese artist living in France, once said, "calligraphy is the core of the core of Chinese culture." the reason why calligraphy has been an important reason for people's love, except for its high artistic nature, and its inherent universality. In comparison, the threshold of calligraphy can be said to be the lowest, as long as the literate person can pick up the brush to get closer to it, feel it, and even gaze at it can enjoy the beauty of beauty.
From the ancient to the present, there are countless calligraphy works which have been handed down. Besides the works on bamboo slips, silk, paper and other carriers, there are many forms of works attached to other media, which are also very abundant in the space interface. This kind of calligraphy not only provides us with the study of calligraphy art. With high quality resources, we can also extract valuable information from the practice of the ancients, which has a great help for guiding modern design, which is of great significance today in advocating the design of national nature.
In this case, the author chose the subject of "the application of calligraphy elements in the design of space interface", with the application of the elements of calligraphy as the breakthrough point, a systematic analysis of the application of the space interface design. The calligraphy elements selected in this paper, besides the calligraphy symbols based on Chinese characters, also include calligraphy yuan. The very important concept of time and space in the element has not only the application of calligraphy, but also the inspiration of the structure, form, spiritual connotation and aesthetic features of calligraphy on the design of the space interface, which provides a further theoretical basis for the development of the traditional art of calligraphy in the modern language. And basis.
This article is divided into the following parts:
The first chapter is the introduction, which includes the source of the subject, the purpose and significance of the study, and introduces the research status at home and abroad, and briefly expounds the main contents and methods of the research.
The second chapter is mainly to comb the application of the calligraphy elements in the ancient space interface, divided into the ancient architectural frame interface, the ancient architecture attached frame interface and the ancient utensils and the furniture frame interface these three parts, select the ancient in the application of the essence of calligraphy elements to study, in order to lead to the following.
The third chapter is the key chapter of this article. The application of calligraphy elements in the design of modern space interface is subdivided into three parts: modern architectural interface, modern landscape interface and modern indoor space interface. In the affirmative design application, it also points out the existing problems, with a large number of pictures and the author Design practice sums up the application value and application method of calligraphy elements.
The fourth chapter is the other focus of this study, and the structure of the calligraphy elements, the rules of the chapter, the design of the gods and the space interface design to carry on the correlation research, hope that through the different art categories in the art and thought of the cross integration, for their respective relatively closed art system to bring development vitality.
The fifth chapter is mainly about application analysis. Based on the achievements of the research project, the author proves the author's argument by analyzing a design case.
The sixth chapter, as the conclusion of this article, summarizes and summarizes the research results of the first five chapters, in order to better inherit traditional culture and make the past serve the present.
The purpose of this paper is to provide a theoretical basis and reference for the application of calligraphy elements in the design of space interface through the research results of this topic, try to excavate the modern value of the traditional culture, make the traditional culture serve the modern design better, and provide more reference for the design and research work which is beautiful with this subject. It is hoped that more designers and scholars will be interested in this subject.
【學(xué)位授予單位】：山東建筑大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：TU-8

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本文編號：2017784