【摘要】：時(shí)尚推崇黑色為經(jīng)典與潮流,黑色的廣泛應(yīng)用并非設(shè)計(jì)師群體的主觀色彩偏好,是黑色的情感屬性與審美的引導(dǎo)。黑色的發(fā)展有特定的歷史軌跡和藝術(shù)表現(xiàn),是文化影響力。黑色是最早被人類發(fā)現(xiàn)和使用的顏色,“先入為主”獲得了人類的偏愛。而不同自然植物或現(xiàn)象產(chǎn)生細(xì)微顏色變化的黑色,因此成就了中國古漢字的造字文化。可以說,黑色不是單一的顏色,而是一種顏色,成一體系。梳理黑色發(fā)展的歷史脈絡(luò),作為文化產(chǎn)物。東西方不同文化下的對黑色的情感是有差異的。中華古國自古便有“尚黑”之風(fēng),具有階級屬性,隨著傳統(tǒng)五色系統(tǒng)的規(guī)范和確立,黑色作為正色之一成為君子高氣節(jié)的象征。同樣受到儒家、禪宗佛法思想的影響,與中國一水相鄰的日本對黑色的態(tài)度上有所不同,受歷史發(fā)展和民族性格的共同影響。而在西方,黑色是邪惡、厭惡、有罪的。東方的中庸之道讓黑色保持著對他特殊的喜好,西方的自由反叛精神使對它的情感走向極端,正面與反面共存。黑色作為文化載體被應(yīng)用在各種藝術(shù)品類中,本文通過對繪畫、產(chǎn)品、建筑,從二維平面、三維立體、環(huán)境三個(gè)維度分析黑色的表現(xiàn)形式。其一、藝術(shù)繪畫中,對黑墨料應(yīng)用到極致的水墨畫,單純的黑色表現(xiàn)突出了畫面主體,用筆和技法十分講究但畫面張弛有度。而西方繪畫對形態(tài)的極致要求,是追求盡善盡美的科學(xué)態(tài)度。其二、漆器產(chǎn)品是黑色處于崇高地位的巔峰之作。漆器的傳播和影響形成了文化交流。其三、在建筑方面,傳統(tǒng)瓦片房屋形成的“粉狀黛瓦”格局,徽商為提升環(huán)境文化格調(diào)而改良的“徽派建筑”形成水墨意境,影響了新式中國風(fēng)建筑。西方文明推動(dòng)了現(xiàn)代化建筑的快速發(fā)展,鋼鐵骨架結(jié)構(gòu)的出現(xiàn)讓高樓聳立,人們遠(yuǎn)離大地。鋼鐵的黑讓人感覺冷酷、高傲,泥瓦的黑最讓人腳踏實(shí)地�？梢哉f,黑色通過藝術(shù)形式進(jìn)行表現(xiàn)是文化的外化。黑色在箱包設(shè)計(jì)中的表現(xiàn),與其他顏色搭配時(shí),黑色不慍不火、不喧賓奪主,可以退居其后襯托所搭配的顏色,甚至被視作“空”、“無”。這是黑色廣延性、普適性的表現(xiàn)。分析黑色的不同配比,從小比例的點(diǎn)綴到對等比例再到全篇幅都有不同效果,通體之黑更是現(xiàn)代設(shè)計(jì)追求科技感、未來感的寵兒。在箱包設(shè)計(jì)中,通過黑色占比不同的試驗(yàn),得出黑色的不同效果,應(yīng)證黑色魅力的存在。
[Abstract]:Fashion advocates black as a classic and trend. The wide application of black is not the subjective color preference of designers, but the emotional attributes and aesthetic guidance of black. It can be said that black is not a single color, but a kind of color, forming a system. With the establishment of the traditional five-color system, black as one of the orthodox colors has become a symbol of gentleman's high moral integrity. It is also influenced by Confucianism, Zen Buddhism, and the attitude toward black in Japan, which is adjacent to China, is different from that of Japan. In the West, black is evil, disgusting and guilty. The Eastern doctrine of the Mean keeps black in his special preference. The Western spirit of freedom and rebellion makes his emotions to the extreme, both positive and negative coexistence. Works, architecture, from the two-dimensional plane, three-dimensional, three-dimensional environment analysis of the expression of black form. First, art painting, black ink applied to the ultimate ink painting, simple black performance highlights the main picture, with the pen and techniques are very exquisite but the picture relaxed. Western painting on the form of the ultimate requirements, is the pursuit of perfection. Secondly, lacquerware products are the peak of black in a lofty position. The spread and influence of lacquerware form cultural exchanges. Thirdly, in architecture, traditional tile houses form a "powder dewar" pattern, Huizhou merchants improve the "Hui style architecture" to enhance the environmental and cultural style to form ink artistic conception, affecting the new style. Chinese style architecture. Western civilization promotes the rapid development of modern architecture. The appearance of steel skeleton structure makes high-rise buildings stand up and people stay away from the earth. The black of steel makes people feel cold, proud, and the black of mud tile makes people feel most down-to-earth. It can be said that the expression of black through art forms is the externalization of culture. Black in the design of suitcases and bags in the table. Nowadays, when matching with other colors, black is not calm, not boisterous, and can retreat to the color matching behind it, or even be regarded as "empty" or "none". This is the expression of black extensiveness and universality. Modern design pursues a sense of science and technology, the darling of the future. In the design of bags, through the black proportion of different experiments, the different effects of black, should prove the existence of black charm.
【學(xué)位授予單位】：東華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：TS563.4

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