本文選題：藝術(shù)的創(chuàng)生性　切入點(diǎn)：創(chuàng)生性設(shè)計(jì)　出處：《武漢理工大學(xué)》2003年碩士論文　論文類型：學(xué)位論文

【摘要】： 設(shè)計(jì)作為一種社會(huì)——文化質(zhì)的活動(dòng)，在市場(chǎng)調(diào)節(jié)、社會(huì)導(dǎo)向的雙重制約之下，現(xiàn)代設(shè)計(jì)不斷從中國傳統(tǒng)藝術(shù)中提煉出新的藝術(shù)表現(xiàn)形式，傳統(tǒng)藝術(shù)對(duì)現(xiàn)代設(shè)計(jì)有一定的借鑒作用是毋庸置疑的。 藝術(shù)和設(shè)計(jì)是相通的，少數(shù)民族藝術(shù)中蘊(yùn)含著許多源于自然本質(zhì)的純樸的東西，不但對(duì)我們今天的設(shè)計(jì)有著重要的啟迪意義，同時(shí)，也與我們所提倡的“綠色設(shè)計(jì)”不謀而合，能夠在生態(tài)的、環(huán)保的工業(yè)設(shè)計(jì)中給我們提供更多的新思路和素材。如少數(shù)民族有代表自己的一套符號(hào)，這也是值得借鑒的。符號(hào)負(fù)載信息，傳遞信息。它是事物特性的表征，是認(rèn)識(shí)事物的一種簡(jiǎn)化手段，也是思維的主體。人們?cè)诜?hào)系統(tǒng)中達(dá)成相互理解，相互溝通，在此意義上，，符號(hào)無疑是信息的工具。圖形建構(gòu)符號(hào)，符號(hào)建構(gòu)信息，透過其傳達(dá)與接受的互動(dòng)而生成意義。 在符號(hào)和事物之間存在著表征與被表征、理解與被理解的關(guān)系，視覺符號(hào)被看作某種事物的記號(hào)。符號(hào)與已知的事物相關(guān)，與它指涉對(duì)象的特性相關(guān)。圖形解讀是發(fā)現(xiàn)圖形意義的過程，并且發(fā)生在受眾和圖形的互動(dòng)之際。當(dāng)受眾以其文化經(jīng)驗(yàn)中去理解圖形中的符號(hào)時(shí)，它也包含了一些對(duì)此圖形的個(gè)性的理解，不同文化背景和經(jīng)驗(yàn)背景對(duì)于同一圖形可能會(huì)產(chǎn)生不同的意義解讀。任何語意都只在一定范圍內(nèi)被理解，只有符合特定背景的符號(hào)才能被接受。 但是并不是所有的舊元素都可以拿來組合，在選擇這個(gè)舊元素時(shí)必須考慮它有沒有普遍性，比如，火藥，書法，唐詩，寓言，碑林都有普遍性，這些不僅具有本民族的普遍性，同是也具有國際的普遍性。這里就說到新組合的問題。這種組合不是并列關(guān)系，而是兼容關(guān)系，二個(gè)元素應(yīng)該是你中有我，我中有你，如：太極拳和奧運(yùn)五環(huán)，如果把太極拳換成碑林，書法，就產(chǎn)生不了兼容關(guān)系，不兼容就談不上新的組合，以此類推。 現(xiàn)代設(shè)計(jì)蘊(yùn)含的空間巨大，從廣告設(shè)計(jì)、產(chǎn)品設(shè)計(jì)、服裝設(shè)計(jì)到室內(nèi)設(shè)計(jì)、建筑設(shè)計(jì)，等等，處處都能看到運(yùn)用傳統(tǒng)的表現(xiàn)形式來傳達(dá)信息的成功實(shí)例。當(dāng)今世界500強(qiáng)企業(yè)的標(biāo)志個(gè)個(gè)簡(jiǎn)潔含蓄，視覺沖擊力強(qiáng)，很少繁雜或令人費(fèi)解�！叭赋部Х取睆V告語“美味的開始”，朗朗上口又回味無窮，“可口可樂”廣告語“永遠(yuǎn)的可口可樂”，簡(jiǎn)單而深刻，用含蓄的語言傳達(dá)深廣的含義。現(xiàn)代廣告招貼廣泛運(yùn)用空間的虛實(shí)對(duì)比，如一幅以保護(hù)水資源為主題的公益招貼，以黑白兩色分割整個(gè)畫面，豐滿的魚頭衍變?yōu)橹皇９穷^的魚身，大量的黑白空間留給人們?nèi)ニ妓鳌⒒匚��！疤O果電腦”的外型設(shè)計(jì)在滿足功能的基礎(chǔ)上，越來越趨于簡(jiǎn)單、超薄，同時(shí)賦予更多的哲學(xué)含義，設(shè)計(jì)成為一種文化，是有生命的，發(fā)展著的。美國著名建筑大師賴特設(shè)計(jì)的“流水別墅”，整座建筑坐落于瀑布之上，以普通的毛石和長(zhǎng)條石為材料，色彩對(duì)比強(qiáng)烈，造型簡(jiǎn)潔大方，傳達(dá)“回歸自然”的人居哲學(xué)觀。 武漢理工大學(xué)碩士學(xué)位論文 本文從廣西北部的幾個(gè)少數(shù)民族(融水苗族自治縣元寶山的苗族、羅城 松佬族自治縣的松佬族以及周圍的其他少數(shù)民族)藝術(shù)為出發(fā)點(diǎn)，以人與自 然的和諧共處為指導(dǎo)思想探討了少數(shù)民族的以實(shí)用為主的藝術(shù)中的創(chuàng)生性， 并提出了少數(shù)民族藝術(shù)中的幾個(gè)特點(diǎn)，以及創(chuàng)生性在綠色設(shè)計(jì)中的具體體現(xiàn) 和做法，和少數(shù)民族藝術(shù)在設(shè)計(jì)思想、方法、資源以及目的這幾個(gè)方面對(duì)現(xiàn) 代設(shè)計(jì)的啟示。 藝術(shù)的創(chuàng)生性實(shí)際上是一種進(jìn)行藝術(shù)創(chuàng)作的方法和目的，它以學(xué)習(xí)自然 生生不息的生態(tài)規(guī)律為宗旨，通過創(chuàng)作過程中不同要素為了達(dá)到共生的狀態(tài) 而進(jìn)行的不斷相互協(xié)調(diào)、相互排斥的活動(dòng)中，激發(fā)形成新的要素，以實(shí)現(xiàn)創(chuàng) 作的目的，由于這種過程是不斷往復(fù)循環(huán)的，因而形成螺旋上升的發(fā)展趨勢(shì)。 其實(shí)踐表現(xiàn)為綠色產(chǎn)品開發(fā)，是從綠色產(chǎn)品的設(shè)計(jì)開始的，綠色設(shè)計(jì)是以節(jié) 約資源和保護(hù)環(huán)境為宗派宗旨的設(shè)計(jì)理念和方法，它強(qiáng)調(diào)保護(hù)自然生態(tài)，充 分利用資源。以人為本，善待環(huán)境，綠色設(shè)計(jì)不應(yīng)僅是一個(gè)倡議和提議，它 應(yīng)成為現(xiàn)實(shí)文明和未來發(fā)展的方向。 設(shè)計(jì)不應(yīng)再把文化當(dāng)作提高身價(jià)的裝飾，只滿足于從傳統(tǒng)中套用文化符 號(hào)，而是能夠站在更高的地方，理解前人的文化創(chuàng)造，看到前人文化行為中 的歷史必然性，真正從文化現(xiàn)象中體會(huì)到當(dāng)時(shí)的創(chuàng)造者對(duì)世界、對(duì)自己的理 解。我們要從文化中汲取的正是前人具體創(chuàng)作背后的這種對(duì)世界、對(duì)自己的 理解。
[Abstract]:As a social cultural quality activity, under the Dual Restriction of market regulation and social orientation, modern design constantly extracts new forms of artistic expression from traditional Chinese art, and traditional art has certain reference for modern design.
Art and design is the same, the simple things of ethnic art contains many from nature, not only for today's design has an important significance, at the same time, and also we are advocating "green design" in ecology, agree without prior without previous consultation, industrial design and environmental protection to offer new ideas and more material. Such as the national minority have their own set of symbols, which is worthy of reference. The symbol load information, transmit information. It is characterized by the characteristics of things, is a simple means of understanding things, is also the subject of thinking. People achieve mutual understanding, mutual communicate in the sign system. In this sense, the symbol is the tool of information. The construction of graphic symbols, symbols and meaning generated through interactive information, the communication and acceptance.
Between the sign and the thing, there is relationship between representation and characterization, understanding and being understood, visual symbols are regarded as the mark of a certain thing. Related symbols with known things, characteristics of the object involved in related. It refers to the reading of graphic is a process to find the meaning of graphic, and occurs in the interaction between audience and graphics on the occasion. When the audience with its cultural experience to understand graphic symbols, it also contains some graphic understanding of the personality, different cultural backgrounds and experience may have different interpretations for the same graphics. Any meaning is understood in a certain range, only the symbol can conform to the specific background is accept.
But not all of the old elements can be used in the selection of the combination of old elements must be considered when it is popular, for example, gunpowder, calligraphy, poetry, fable, Beilin has universality, which not only has the nation's universality, but also have an international generality. It is a new the combination of problem. This combination is not parallel, but the compatibility between the two elements, should you have me, I have you, such as: Taijiquan and Olympic rings, if the Taijiquan for steles, calligraphy, cannot produce compatible, incompatible do not talk about the new combination, and so on.
The modern design contains a huge space, from advertising design, product design, costume design and the interior design, architectural design, and so on, everywhere can see the use of traditional forms to convey information. The sign of successful examples of the world's top 500 enterprises are concise, strong visual impact, very complicated or confusing. "Nestle coffee" advertisement "delicious", "Coca-Cola" and catchy advertisements lead a person to endless aftertastes, "forever" of Coca-Cola, simple and profound, convey a deep meaning with subtle language. Modern advertising poster strength contrast is widely used in space, such as one in order to protect water resources as the theme of the commonweal poster, segmentation the whole picture in black and white, the head of development plump for only bones of fish, a large number of black and white space for people to think about, aftertaste. "Apple Computer" is designed in full The basic function of the foot, more and more simple, slim, while giving more philosophical meaning, design has become a culture, is a living, evolving. Famous American architect Wright designed "water villa", the whole building is located on the top of the waterfall, in general the rubble and strip stone material, color contrast, shape simple and generous, to convey the "return to nature" living philosophy.
Master's degree thesis of Wuhan University of Technology
This article from several ethnic minorities in northern Guangxi (Rongshui Miao Autonomous County of Yuanbaoshan Miao, Rochester
The song Yankee people and the other minorities around in the pine Autonomous County are the starting point for the people and themselves.
The harmonious coexistence is the guiding ideology to explore the creation of the practical art of the ethnic minorities.
It also puts forward several characteristics of minority art and the concrete embodiment of creativity in green design.
And the practice, and the minority art in the design ideas, methods, resources and purposes of these several aspects of the present.
The inspiration of the generation of the design.
The creation of art is actually a method and purpose for artistic creation, which is to learn nature.
The tenet of the eternal ecological law is to achieve the state of symbiosis through different elements in the process of creation.
In the activities that are constantly coordinated and mutually exclusive, new elements are inspired to achieve creation.
The purpose of the work is that this process is a continuous reciprocating cycle, thus forming a trend of spiral rise.
The practice shows the development of green products. It begins with the design of green products. The green design is a festival.
The design concept and method of resources and environmental protection for the tenet of the sectarian, it emphasizes the protection of natural ecology,
It is not only a proposal and proposal that the green design is only an initiative and a proposal.
It should be the direction of the real civilization and the future development.
The design should not be used as an ornament to increase the price, only to apply the cultural symbol from the tradition.
We can stand in higher places, understand the cultural creation of the predecessors, and see the cultural behavior of the predecessors.
The historical inevitability is true from the cultural phenomenon that the creators of the time of the time to the world, to their own reason
What we have to draw from the culture is this to the world behind the concrete creation of the predecessors, to one's own.
Understand.

【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：J505

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 莫天偉,陸地;再生上海里弄形態(tài)開發(fā)性保護(hù)“新天地”[J];時(shí)代建筑;2000年03期

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