本文選題：吉祥文化 + 藏族��； 參考：《北京服裝學(xué)院》2015年碩士論文

【摘要】：隨著中國(guó)與世界的交流范圍不斷的拓展和深入，今天的青年一代受到的文化影響力更多的是來(lái)自國(guó)外各種強(qiáng)勢(shì)文化對(duì)視聽(tīng)的反復(fù)刺激，以致于很多年輕人對(duì)自身和所處的環(huán)境產(chǎn)生混亂的幻覺(jué)，，處于一種價(jià)值觀迷失的狀態(tài)，而中國(guó)的一些品牌或者設(shè)計(jì)師由于對(duì)傳統(tǒng)文化的認(rèn)識(shí)大多停留在表面，缺乏對(duì)其深層次的理解與探索，產(chǎn)生獨(dú)立思考能力與觀念性創(chuàng)新能力的不足。由于心浮氣躁和缺乏文化生活根基，在設(shè)計(jì)的過(guò)程中出現(xiàn)很多為追求短期效益而通盤(pán)模仿國(guó)際大牌，或者硬性的照搬傳統(tǒng)文化元素的現(xiàn)象。這樣設(shè)計(jì)出來(lái)的作品只能依賴片面的偶然性，缺乏對(duì)設(shè)計(jì)規(guī)律性的把握，難以呈現(xiàn)出中華本土文化和民族民間文化的審美力量，當(dāng)然也就難以喚起人們的情感共鳴，從而造成許多缺乏社會(huì)責(zé)任感的平庸甚至拙劣的設(shè)計(jì)和產(chǎn)品，造成大量資源的浪費(fèi)。 中華民族是一個(gè)重視祈福的民族，吉祥文化源遠(yuǎn)流長(zhǎng)。傳統(tǒng)吉祥文化圖案具有普世的價(jià)值，反映著人們生活的現(xiàn)實(shí)樣貌，流露著真實(shí)的情感，傳遞著希望的心聲，因此具備著重要的研究意義。藏族吉祥圖案具有鮮明的藝術(shù)表現(xiàn)力和獨(dú)特的地域性、歷史性、人文性，至今古風(fēng)猶存，文化脈絡(luò)清晰，保存較為完好，是比較適宜研究吉祥文化的切入點(diǎn)。本文以圖案作為研究民族本土傳統(tǒng)文化的切入點(diǎn)，結(jié)合對(duì)其在服裝設(shè)計(jì)領(lǐng)域中的應(yīng)用現(xiàn)狀的研究，以圖案蘊(yùn)涵的吉祥文化之美形與美意作為研究的理論依據(jù)，為傳統(tǒng)圖案在服裝領(lǐng)域的應(yīng)用與傳承進(jìn)行一些思維觀念與設(shè)計(jì)方法的探索。 目前國(guó)內(nèi)已經(jīng)注意服飾文化研究的重要性，取得了許多有價(jià)值的研究成果，在前人豐碩的成果基礎(chǔ)上，本文將以對(duì)服飾文化的研究和更大的社會(huì)歷史人文背景之下的民族精神研究融為一體的方式探索服裝文化的發(fā)展規(guī)律。本文從對(duì)具有鮮明文化特色的藏族傳統(tǒng)吉祥圖案的研究作為切入點(diǎn)探索與借鑒藏族文化在立足自我實(shí)際的基礎(chǔ)上通過(guò)不斷與外界進(jìn)行文化的接納，碰撞，轉(zhuǎn)換，包容來(lái)豐富豐滿和傳承自身的方式與方法。旨在能夠作出根植傳統(tǒng)文化，適應(yīng)現(xiàn)代生活方式與生產(chǎn)實(shí)踐，引導(dǎo)未來(lái)需要具有連貫性的設(shè)計(jì)作品。 論文的第一章主要介紹了選題的目的，意義和價(jià)值以及研究思路；第二章主要分別論述吉祥文化，藏族吉祥圖案的形成原因、原理及其審美特點(diǎn)；第三章主要分析藏族吉祥圖案內(nèi)容的題材，歷史發(fā)展過(guò)程，內(nèi)在含義和派生演化的規(guī)律特點(diǎn)；第四章主要研究了在藏族本地的服飾品牌對(duì)藏族吉祥圖案的運(yùn)用方式和現(xiàn)代時(shí)尚服飾品牌對(duì)藏族吉祥圖案的應(yīng)用方式；第五章論述了藏族吉祥圖案的創(chuàng)新要點(diǎn)；第六章對(duì)藏族吉祥圖案的特性和運(yùn)用方法進(jìn)行了概括性總結(jié)。
[Abstract]:With the continuous expansion and deepening of the scope of communication between China and the world, the cultural influence of today's young generation is more and more stimulated by various powerful cultures from abroad. As a result, many young people have the illusion of confusion about themselves and their environment, and they are in a state of loss of values, while some brands or designers in China, because of their knowledge of traditional culture, mostly stay on the surface. The lack of deep understanding and exploration leads to the deficiency of independent thinking ability and conceptual innovation ability. Because of impatience and lack of foundation of cultural life, there are many phenomena in the process of design, such as overall imitation of international brands for the sake of short-term benefit, or rigid copying of traditional cultural elements. The works designed in this way can only rely on one-sided contingency and lack the grasp of the design regularity, and it is difficult to present the aesthetic power of Chinese native culture and national folk culture, and of course it is difficult to arouse people's emotional resonance. As a result, many mediocre and even poor design and products lack of social responsibility, resulting in a lot of waste of resources. The Chinese nation is a blessed nation with a long history of auspicious culture. The traditional auspicious cultural patterns have universal value, reflect the realistic appearance of people's life, exude the true emotion and transmit the hope's voice, so it has the important research significance. Tibetan auspicious patterns with distinct artistic expression and unique regional, historical, humanistic, ancient style still exist, cultural context is clear, relatively well-preserved, is more suitable for the study of auspicious culture entry point. This paper takes the pattern as the starting point to study the traditional culture of the nation, combined with the research on its application in the field of clothing design, and takes the beauty and beauty of the auspicious culture implied by the pattern as the theoretical basis for the study. This paper explores some thinking ideas and design methods for the application and inheritance of traditional patterns in the field of clothing. At present, attention has been paid to the importance of clothing culture research in China, and many valuable research results have been obtained, on the basis of the fruitful achievements of the predecessors. In this paper, the research on costume culture and the study of national spirit under the background of social history and humanities will be combined to explore the development law of clothing culture. From the point of view of the study of Tibetan traditional auspicious patterns with distinct cultural characteristics, this paper explores and draws lessons from Tibetan culture on the basis of self-reality through the continuous cultural acceptance, collision and transformation with the outside world. Tolerance to enrich the fullness and inheritance of their own ways and methods. The aim is to be able to establish traditional culture, adapt to modern life style and production practice, and guide future design works with coherence. The first chapter mainly introduces the purpose, significance, value and research ideas of the topic, the second chapter mainly discusses the auspicious culture, the formation of Tibetan auspicious patterns, principles and aesthetic characteristics; The third chapter mainly analyzes the Tibetan auspicious pattern content theme, the historical development process, the inherent meaning and the derivative evolution rule characteristic; The fourth chapter mainly studies the application of Tibetan auspicious patterns in Tibetan local clothing brands and the application of modern fashion clothing brands to Tibetan auspicious patterns, the fifth chapter discusses the innovation points of Tibetan auspicious patterns. Chapter six summarizes the characteristics and application methods of Tibetan auspicious patterns.
【學(xué)位授予單位】：北京服裝學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：TS941.2

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本文編號(hào)：2021091