本文選題：日本 + 韓國(guó)��； 參考：《江南大學(xué)》2008年碩士論文

【摘要】： 日韓現(xiàn)代設(shè)計(jì)經(jīng)歷了戰(zhàn)后半個(gè)世紀(jì)的成長(zhǎng)與壯大,今天已取得了斐然的成就,并以盛氣凌人的感召力相繼在中國(guó)市場(chǎng)上刮起了“和風(fēng)”、“韓流”。日韓的發(fā)展理應(yīng)受到中國(guó)設(shè)計(jì)界的高度重視。然而,相對(duì)于市場(chǎng)上兩國(guó)物質(zhì)產(chǎn)品的多姿多彩,現(xiàn)代設(shè)計(jì)的研究卻顯得格外的蒼白無(wú)力。盡管我們對(duì)日本現(xiàn)代設(shè)計(jì)有了一定了解,但具體到韓國(guó)現(xiàn)代設(shè)計(jì)的面貌,不禁啞然。值此中國(guó)現(xiàn)代設(shè)計(jì)快速發(fā)展的關(guān)鍵時(shí)期,兩國(guó)現(xiàn)代設(shè)計(jì)發(fā)展脈絡(luò)的梳理分析,以及建立于此的對(duì)比研究,對(duì)于目前中國(guó)設(shè)計(jì)的定位和未來(lái)發(fā)展規(guī)劃都是相當(dāng)重要的,甚至直接關(guān)系到中國(guó)經(jīng)濟(jì)發(fā)展的未來(lái)。 日韓現(xiàn)代設(shè)計(jì)歷程與歐洲的設(shè)計(jì)發(fā)展有明顯的區(qū)別:日韓現(xiàn)代設(shè)計(jì)可以說(shuō)不是“自發(fā)”的,而是從屬、并依附于經(jīng)濟(jì),有其獨(dú)特性。日韓長(zhǎng)期沐浴于中國(guó)儒家文化,戰(zhàn)后又同受美國(guó)重商主義和大眾文化的影響,以及戰(zhàn)后國(guó)際工業(yè)技術(shù)發(fā)展的整體時(shí)空環(huán)境,致使現(xiàn)今日韓現(xiàn)代設(shè)計(jì)顯性表征的趨同化傾向。不過(guò),日韓各自的民族秉性表現(xiàn)了不同價(jià)值取向,通過(guò)對(duì)戰(zhàn)后主流設(shè)計(jì)思想的選擇吸收、融合、沉淀,形成了洋溢著“縮小”理性哲學(xué)的日本現(xiàn)代設(shè)計(jì)與“曲線”感性美學(xué)的韓國(guó)現(xiàn)代設(shè)計(jì)的分野,并依此為基礎(chǔ)融合諸如服飾、舞蹈、影視、動(dòng)漫、游戲等各種文化成分,通過(guò)現(xiàn)代通訊與媒介手段席卷亞洲并波及整個(gè)世界市場(chǎng)。 本研究以日韓現(xiàn)代設(shè)計(jì)史縱向時(shí)間軸為起點(diǎn),總結(jié)了日韓現(xiàn)代設(shè)計(jì)發(fā)展模式─—倒金字塔范式,在此基礎(chǔ)上分別對(duì)日韓政治經(jīng)濟(jì)、社會(huì)文化、科學(xué)技術(shù)三方面背景的橫向比較,層層深入,概括日韓現(xiàn)代設(shè)計(jì)歷程的影響因素以及發(fā)展條件,進(jìn)而尋求目前日韓現(xiàn)代設(shè)計(jì)趨同化與差異化的因素,最后解析了日韓現(xiàn)代設(shè)計(jì)研究在中國(guó)的價(jià)值。
[Abstract]:The modern design of Japan and Korea has experienced the growth and growth of half a century after the war. Today, it has made great achievements, and has blown "harmony" and "Korean current" in the Chinese market with its domineering appeal. The development of Japan and Korea should be highly valued by the Chinese design community. However, compared with the material products of the two countries in the market, the research of modern design is especially weak. Although we have a certain understanding of modern Japanese design, but the face of Korean modern design, can not help but mute. At this critical period of rapid development of modern design in China, the analysis of the development of modern design in the two countries, as well as the comparative study based on this, are very important for the positioning and future development planning of Chinese design at present. Even directly related to the future of China's economic development. The process of modern design in Japan and Korea is obviously different from that in Europe: modern design of Japan and Korea is not "spontaneous", but subordinate, and dependent on economy, so it has its own uniqueness. Japan and Korea were bathed in Chinese Confucian culture for a long time, and influenced by American mercantilism and mass culture after the war, as well as the overall spatio-temporal environment of postwar international industrial technology development, which led to the assimilation tendency of the dominant representation of modern design between Japan and Korea. However, Japan and South Korea have displayed different value orientations in their respective national attitudes. Through the selection, absorption, integration and precipitation of the mainstream design ideas after the war, Forming a distinction between Japanese modern design, which is permeated with "shrinking" rational philosophy, and Korean modern design, which is "curve" perceptual aesthetics, and based on this, it integrates various cultural elements such as clothing, dance, film and television, animation, games, etc. Through modern communication and media means swept across Asia and the entire world market. This study takes the longitudinal time axis of modern design history of Japan and Korea as the starting point, summarizes the development model of modern design in Japan and Korea-the inverted pyramid paradigm, and on this basis compares the political and economic, social and cultural, and scientific and technological backgrounds of Japan and South Korea respectively. In this paper, the influencing factors and developing conditions of the modern design process of Japan and Korea are summarized, and the factors of assimilation and differentiation of modern design between Japan and Korea are sought. Finally, the value of the study of modern design in Japan and Korea in China is analyzed.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類(lèi)號(hào)】：J509.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前3條

1 何景浩;;日韓文化下的現(xiàn)代設(shè)計(jì)比較[J];電影評(píng)介;2011年12期

2 張奕;;融入生活的設(shè)計(jì)——從韓劇中體味現(xiàn)代韓國(guó)室內(nèi)設(shè)計(jì)風(fēng)格[J];黃石理工學(xué)院學(xué)報(bào)(人文社會(huì)科學(xué)版);2011年02期

3 孔德峰;張?chǎng)?;淺析日本現(xiàn)代燈具的設(shè)計(jì)[J];機(jī)電產(chǎn)品開(kāi)發(fā)與創(chuàng)新;2011年05期

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本文編號(hào)：2019555