本文選題：中國文化 + 傳統(tǒng)元素��； 參考：《湖北工業(yè)大學(xué)》2010年碩士論文

【摘要】：在工業(yè)化大生產(chǎn)和全球經(jīng)濟(jì)一體化的大背景之下,商品市場開始走向國際化,現(xiàn)代主義、后現(xiàn)代主義、高科技派等設(shè)計(jì)風(fēng)格席卷全球,各個(gè)國家、民族、地區(qū)都以驚人的速度疾速的發(fā)展著,這種發(fā)展模式使國家、民族、地區(qū)之間的差異越來越小,設(shè)計(jì)模式開始走向了一體化,文化的地域性和民族性逐漸陷入了困境。設(shè)計(jì)師們開始意識(shí)到這個(gè)問題的存在,無論是西方設(shè)計(jì)風(fēng)格的卷入還是其他多元化的設(shè)計(jì),中國室內(nèi)設(shè)計(jì)的發(fā)展只有真正融入到幾千年的傳統(tǒng)文化中去,將寓意深刻的傳統(tǒng)裝飾元素靈活的運(yùn)用到現(xiàn)代室內(nèi)設(shè)計(jì)中,轉(zhuǎn)化成具有中國特色的民族的藝術(shù)風(fēng)格,才能走出一條有鮮明的民族個(gè)性、適應(yīng)現(xiàn)代國際潮流的設(shè)計(jì)之路。民族的才是世界的,它需要我們這一代人積極的提高對傳統(tǒng)文化的認(rèn)知能力,從而進(jìn)行富有創(chuàng)造力的現(xiàn)代設(shè)計(jì)。本篇論文對中國傳統(tǒng)裝飾元素進(jìn)行了客觀分析,并深入探討了它的藝術(shù)特征以及如何在現(xiàn)代室內(nèi)設(shè)計(jì)中加以運(yùn)用,所謂“知新原于溫故,竟委貴于尋源”,要想在日益激烈的國際形勢之下生存、競爭并保有優(yōu)勢,我們需要對中國傳統(tǒng)裝飾文化進(jìn)行學(xué)習(xí)和借鑒,學(xué)會(huì)古為今用,承襲傳統(tǒng),兼容現(xiàn)代。 本文首先總體闡述了中國傳統(tǒng)裝飾元素的基本范疇,包括其藝術(shù)特征和表現(xiàn)形式及其歷史傳承。繼而分析了現(xiàn)代室內(nèi)設(shè)計(jì)的發(fā)展趨勢,返璞歸真、回歸本土文化是其一大趨勢,從而客觀分析了現(xiàn)代室內(nèi)設(shè)計(jì)與中國傳統(tǒng)元素的融合及其藝術(shù)特征,它的實(shí)用價(jià)值和審美價(jià)值使人們更加關(guān)注中國傳統(tǒng)文化,使其發(fā)揚(yáng)光大。 其次,對中國傳統(tǒng)裝飾元素進(jìn)行歸納和分析,具體闡述其表現(xiàn)形式和裝飾手法。主要分為四部分,第一部分是傳統(tǒng)家具和室內(nèi)陳設(shè)品的分析,第二部分是傳統(tǒng)構(gòu)件與界面的分析,第三部分是中國傳統(tǒng)裝飾圖案的分析,第四部分是中國傳統(tǒng)裝飾色彩的分析。通過這四個(gè)部分的具體分析,歸納總結(jié)出室內(nèi)空間中傳統(tǒng)裝飾元素的實(shí)用性和審美性的特點(diǎn),及其表現(xiàn)力。 最后,通過對四個(gè)部分的微觀的具體分析,對中國的傳統(tǒng)裝飾元素及其與現(xiàn)代室內(nèi)設(shè)計(jì)的融合有了深刻的認(rèn)知。得出了中國傳統(tǒng)裝飾元素在現(xiàn)代室內(nèi)設(shè)計(jì)中的重要性、多元性、創(chuàng)新性,我們需要努力的從傳統(tǒng)裝飾元素中獲取藝術(shù)靈感,走出一條富有現(xiàn)代感的民族特色的設(shè)計(jì)之路。
[Abstract]:Against the background of industrialization and global economic integration, the commodity market began to move towards internationalization. Design styles such as modernism, post-modernism, high-tech school and so on swept the world, every country, nation, etc. Regions are developing at an astonishing speed, which makes the differences among countries, nationalities and regions smaller and smaller. The design pattern begins to move towards integration, and the regional and national characteristics of culture gradually fall into a dilemma. Designers are beginning to realize the existence of this problem, whether Western design style involved or other diversified design, the development of Chinese interior design only truly into thousands of years of traditional culture to go. The traditional decorative elements with profound implication can be flexibly applied to modern interior design and transformed into the artistic style of the nation with Chinese characteristics so that it can walk out of a design road with distinct national personality and adapt to the modern international trend. The nation is the world, it needs our generation to actively improve the cognitive ability of traditional culture, so as to carry out creative modern design. This paper has carried on the objective analysis to the Chinese traditional decoration element, and has deeply discussed its artistic characteristic and how to use in the modern interior design. In order to survive, compete and retain advantages in the increasingly fierce international situation, we need to learn from the Chinese traditional decorative culture, learn to use the past for the present, inherit the tradition, and be compatible with the modern. At first, this paper expounds the basic category of Chinese traditional decorative elements, including its artistic features, forms of expression and historical inheritance. Then it analyzes the development trend of modern interior design, returning to nature and returning to native culture, thus objectively analyzing the fusion of modern interior design and Chinese traditional elements and its artistic characteristics. Its practical value and aesthetic value make people pay more attention to Chinese traditional culture and carry it forward. Secondly, the traditional decorative elements of China are summarized and analyzed. It is mainly divided into four parts, the first part is the analysis of traditional furniture and interior furnishings, the second part is the analysis of traditional components and interfaces, the third part is the analysis of Chinese traditional decorative patterns, the fourth part is the analysis of Chinese traditional decorative colors. Through the concrete analysis of these four parts, the practical and aesthetic characteristics of traditional decorative elements in indoor space and their expressive power are summarized. Finally, through the microcosmic analysis of the four parts, the author has a profound understanding of the traditional decorative elements of China and their fusion with modern interior design. The importance, diversity and innovation of Chinese traditional decorative elements in modern interior design are obtained. We need to make great efforts to obtain artistic inspiration from traditional decorative elements and walk out a road with modern national characteristics.
【學(xué)位授予單位】：湖北工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：TU238.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 于泉城;;現(xiàn)代室內(nèi)設(shè)計(jì)之中式風(fēng)格初探[J];現(xiàn)代裝飾(理論);2013年02期

相關(guān)碩士學(xué)位論文 前2條

1 魏翠翠;中國裝飾元素在室內(nèi)設(shè)計(jì)中的應(yīng)用研究[D];景德鎮(zhèn)陶瓷學(xué)院;2012年

2 王怡;論中國民間美術(shù)色彩對現(xiàn)當(dāng)代油畫的影響[D];重慶師范大學(xué);2012年

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本文編號(hào)：1944647