本文選題：竊曲紋飾 + 傳統(tǒng)藝術(shù)��； 參考：《青島大學(xué)》2017年碩士論文

【摘要】：本文以竊曲紋飾為研究對(duì)象,從竊曲紋飾的起源、發(fā)展、精神文化內(nèi)涵和VI設(shè)計(jì)的應(yīng)用和創(chuàng)新等各個(gè)不同的領(lǐng)域和角度探討了它在中國(guó)傳統(tǒng)藝術(shù)中的古樸、吉祥的文化內(nèi)涵和表現(xiàn)形式。重點(diǎn)研究了怎樣通過(guò)文化內(nèi)涵作為創(chuàng)作的靈感來(lái)源,并運(yùn)用現(xiàn)代構(gòu)成的設(shè)計(jì)手法提煉竊曲紋飾,將其創(chuàng)新的運(yùn)用到VI設(shè)計(jì)中。竊曲紋飾有幾千年的歷史,因而在其發(fā)展過(guò)程中,竊曲紋飾藝術(shù)早已像其他精神文化產(chǎn)物一樣,帶有歷史發(fā)展前進(jìn)的印記。從文化上講,每一個(gè)時(shí)代文化的發(fā)展都是對(duì)于前一時(shí)代文化的批判和繼承,然后根據(jù)當(dāng)時(shí)的社會(huì)環(huán)境和人文需求,在傳統(tǒng)基礎(chǔ)上創(chuàng)造新文化體系。研究竊曲紋飾深層的文化含義與VI設(shè)計(jì)的融合,分析竊曲紋飾的演變過(guò)程。通過(guò)對(duì)竊曲紋飾的審美特征實(shí)例探討提取設(shè)計(jì)符號(hào),并將提取的設(shè)計(jì)要素變形創(chuàng)新的應(yīng)用于VI設(shè)計(jì)中。進(jìn)而歸納總結(jié)竊曲紋飾應(yīng)用于VI設(shè)計(jì)可以從文化意蘊(yùn)的提取、形態(tài)的變形創(chuàng)新、具體實(shí)例的演繹等幾個(gè)層面進(jìn)行探討研究。本篇文章從新時(shí)期VI設(shè)計(jì)的實(shí)踐出發(fā),研究和總結(jié)了竊曲紋飾在VI設(shè)計(jì)新時(shí)期的轉(zhuǎn)型和發(fā)展。在當(dāng)代設(shè)計(jì)的大環(huán)境下,傳統(tǒng)紋飾的崛起是一種必然,也是中國(guó)傳統(tǒng)藝術(shù)走向世界并產(chǎn)生影響地重要布局。
[Abstract]:Based on the origin, development, spiritual and cultural connotation, and the application and innovation of VI design, this paper discusses its simplicity in Chinese traditional art. Auspicious cultural connotation and form of expression. This paper focuses on how to use cultural connotation as the source of inspiration for creation, and use modern design techniques to refine the pattern of theft, and apply it to VI design innovatively. In the process of its development, the art of stealing music patterns has already taken on the imprint of historical development, just like other spiritual and cultural products. Culturally speaking, the development of culture in each era is the criticism and inheritance of the culture of the previous era, and then, according to the social environment and humanistic needs of the time, a new cultural system is created on the basis of tradition. This paper studies the fusion of deep cultural meaning and VI design, and analyzes the evolution process of stolen pattern decoration. This paper discusses how to extract the design symbols by the examples of aesthetic features of the decorative patterns, and applies the deformation innovation of the extracted design elements to the VI design. And then summarize that the application of stolen patterns in VI design can be discussed from several aspects, such as the extraction of cultural meaning, the shape of deformation and innovation, the deduction of concrete examples, and so on. Based on the practice of VI design in the new period, this paper studies and summarizes the transformation and development of the pattern of stealing patterns in the new period of VI design. In the great environment of contemporary design, the rise of traditional decoration is inevitable, and it is also an important layout of Chinese traditional art to the world.
【學(xué)位授予單位】：青島大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J524

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