中德當(dāng)代海報(bào)視覺文化比較研究
發(fā)布時(shí)間：2018-08-23 07:53
【摘要】：世界現(xiàn)代海報(bào)藝術(shù)誕生至今,已經(jīng)走過了一百多年的歷史。海報(bào)視覺文化研究本身來看,“媒介”、“文獻(xiàn)”、“藝術(shù)”這三種特質(zhì),共同形成了今天的海報(bào)視覺文化,海報(bào)視覺文化應(yīng)該從視覺文化作為一種闡釋策略的角度出發(fā),采用多學(xué)科交叉的方式分析海報(bào)藝術(shù)作為“媒介”、“文獻(xiàn)”和“藝術(shù)”的交互特性,關(guān)注海報(bào)設(shè)計(jì)的社會(huì)語(yǔ)義、圖像內(nèi)涵、歷史價(jià)值和藝術(shù)意圖。這樣一來,海報(bào)視覺文化研究成為一個(gè)開放的,具有時(shí)代廣度的課題,可以挖掘的研究?jī)?nèi)容十分豐富。本文從視覺文化研究的角度,對(duì)當(dāng)代中國(guó)與德國(guó)兩國(guó)海報(bào)設(shè)計(jì)的一些列問題進(jìn)行的較為詳細(xì)的對(duì)比論述,側(cè)重點(diǎn)放在海報(bào)文化理論與文化形態(tài)的分析研究之上。本文分為四個(gè)具體內(nèi)容,首先嘗試定義海報(bào)視覺文化的概念與研究角度和研究方法,以大量的事實(shí)材料與訪談內(nèi)容作為論述基礎(chǔ)。其次,對(duì)比論述了當(dāng)代全球化語(yǔ)境下中德海報(bào)文化存在的共性特征。第三,從歷史看當(dāng)代,借以中德兩國(guó)海報(bào)發(fā)展的歷史分析當(dāng)代海報(bào)發(fā)展的差異。最后,較為詳細(xì)的對(duì)比論述了中德兩國(guó)當(dāng)代海報(bào)發(fā)展中的視覺文化特性,分為五個(gè)論證角度:1,視覺文化思維;2,邏輯語(yǔ)義特征與審美形態(tài);3,傳統(tǒng)文化觀念;4,文字視覺文化特質(zhì);5,社會(huì)性公共領(lǐng)域認(rèn)知差異。就中德當(dāng)代海報(bào)設(shè)計(jì)的共性來看,時(shí)代背景無(wú)疑是造就這一共性的基礎(chǔ)和條件,信息化時(shí)代使得中德當(dāng)代海報(bào)圖形語(yǔ)言存在著相同的全球價(jià)值觀,這一價(jià)值觀既體現(xiàn)在海報(bào)的視覺表達(dá)語(yǔ)言上,也體現(xiàn)在視覺文化內(nèi)涵的意識(shí)形態(tài)中,同時(shí)還體現(xiàn)在時(shí)代因素所導(dǎo)致的海報(bào)創(chuàng)作的視覺轉(zhuǎn)向。就中德當(dāng)代海報(bào)視覺文化中的差異性來看,中國(guó)與德國(guó)當(dāng)代海報(bào)視覺文化還存在著明顯的由文化差異帶來的不同之處。海報(bào)視覺文化的研究必須建立在對(duì)文化普遍性尊重的溝通之上,尋找一種建立在雙方視覺文化深刻認(rèn)知的基礎(chǔ)之上的,能夠相互溝通理解的視覺語(yǔ)言,從而更好的探尋中國(guó)未來設(shè)計(jì)的文化發(fā)展方向,以期形成“中國(guó)式”設(shè)計(jì)語(yǔ)言與當(dāng)代設(shè)計(jì)思潮。
[Abstract]:The modern poster art in the world has gone through more than 100 years of history since its birth. The study of poster visual culture itself, "media", "literature", "art" these three characteristics, together formed today's poster visual culture, poster visual culture should be from the perspective of visual culture as an interpretation strategy. This paper analyzes the interactive characteristics of poster art as "medium", "literature" and "art" in a multidisciplinary way, and pays attention to the social semantics, image connotation, historical value and artistic intention of poster design. As a result, the study of poster visual culture has become an open topic with a wide range of times. From the perspective of visual culture, this paper makes a detailed comparative study of some problems in poster design between contemporary China and Germany, focusing on the analysis and study of poster culture theory and cultural form. This paper is divided into four specific contents. Firstly, this paper tries to define the concept, research angle and research method of poster visual culture, which is based on a large number of factual materials and interviews. Secondly, it compares the common features of poster culture between China and Germany in the context of contemporary globalization. Thirdly, from the historical point of view, the history of poster development in China and Germany analyzes the differences of contemporary poster development. Finally, the author compares the visual and cultural characteristics of contemporary poster development between China and Germany in detail. It is divided into five argumentation angles: 1, visual cultural thinking 2, logical semantic features and aesthetic forms 3, traditional cultural concepts 4, visual cultural characteristics of characters 5, cognitive differences in social public domain. From the point of view of the commonness of contemporary poster design between China and Germany, the background of the times is undoubtedly the basis and condition for bringing up this commonness. The information age makes the contemporary poster graphic language of China and Germany have the same global values. This value is embodied not only in the visual expression language of posters, but also in the ideology of visual cultural connotation, and also in the visual turn of poster creation caused by the times. From the point of view of the difference between Chinese and German contemporary poster visual culture, there are obvious differences between Chinese and German contemporary poster visual culture. The study of poster visual culture must be based on the communication of respect for the universality of culture, and seek a visual language based on the profound cognition of visual culture between the two sides, which can communicate and understand each other. In order to better explore the direction of cultural development of Chinese design in the future, in order to form "Chinese style" design language and contemporary design trend of thought.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J534.3
，
本文編號(hào)：2198375
[Abstract]:The modern poster art in the world has gone through more than 100 years of history since its birth. The study of poster visual culture itself, "media", "literature", "art" these three characteristics, together formed today's poster visual culture, poster visual culture should be from the perspective of visual culture as an interpretation strategy. This paper analyzes the interactive characteristics of poster art as "medium", "literature" and "art" in a multidisciplinary way, and pays attention to the social semantics, image connotation, historical value and artistic intention of poster design. As a result, the study of poster visual culture has become an open topic with a wide range of times. From the perspective of visual culture, this paper makes a detailed comparative study of some problems in poster design between contemporary China and Germany, focusing on the analysis and study of poster culture theory and cultural form. This paper is divided into four specific contents. Firstly, this paper tries to define the concept, research angle and research method of poster visual culture, which is based on a large number of factual materials and interviews. Secondly, it compares the common features of poster culture between China and Germany in the context of contemporary globalization. Thirdly, from the historical point of view, the history of poster development in China and Germany analyzes the differences of contemporary poster development. Finally, the author compares the visual and cultural characteristics of contemporary poster development between China and Germany in detail. It is divided into five argumentation angles: 1, visual cultural thinking 2, logical semantic features and aesthetic forms 3, traditional cultural concepts 4, visual cultural characteristics of characters 5, cognitive differences in social public domain. From the point of view of the commonness of contemporary poster design between China and Germany, the background of the times is undoubtedly the basis and condition for bringing up this commonness. The information age makes the contemporary poster graphic language of China and Germany have the same global values. This value is embodied not only in the visual expression language of posters, but also in the ideology of visual cultural connotation, and also in the visual turn of poster creation caused by the times. From the point of view of the difference between Chinese and German contemporary poster visual culture, there are obvious differences between Chinese and German contemporary poster visual culture. The study of poster visual culture must be based on the communication of respect for the universality of culture, and seek a visual language based on the profound cognition of visual culture between the two sides, which can communicate and understand each other. In order to better explore the direction of cultural development of Chinese design in the future, in order to form "Chinese style" design language and contemporary design trend of thought.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J534.3
，
本文編號(hào)：2198375
本文鏈接：http://sikaile.net/shoufeilunwen/rwkxbs/2198375.html
最近更新
教材專著
