【摘要】： 歷史上,中、日有幾次較密集的文化經(jīng)濟交流時期,在這幾次的交流中,更多是中國文化以一種強勢影響著日本文化,裝飾藝術(shù)作為文化的一種承載形式,也在影響著日本,但是人們無論從留世的傳統(tǒng)器物還是受到傳統(tǒng)裝飾藝術(shù)影響的現(xiàn)代設(shè)計作品都能感受到日本文化與中國文化同源異語,獨特的民族氣息。本文以多層次、多角度的橫向比較為基本方法,以傳統(tǒng)器物上的圖形、色彩以及現(xiàn)代設(shè)計作品為實例,進行歸納比較。 本文除去緒論、結(jié)論和展望,共分為三個部分。第二章從審美意識的層面上進行比較,尋求兩國傳統(tǒng)裝飾藝術(shù)的淵源與發(fā)展變化。第三章,從傳統(tǒng)裝飾藝術(shù)中的內(nèi)容與表現(xiàn)手法、色彩以形式感方面進行比較。從中得出中國裝飾藝術(shù)追求畫面的熱烈、濃郁具有繁復(fù)的動感形式,而日本裝飾藝術(shù)則追求沉靜、素樸,具有簡潔的靜感形式。第四章,則從傳統(tǒng)裝飾藝術(shù)對于現(xiàn)代社會的價值比較出發(fā),發(fā)現(xiàn)日本的現(xiàn)代設(shè)計師對于本民族的傳統(tǒng)裝飾藝術(shù)有著不懈的傳承與發(fā)展,這對于中國的現(xiàn)代設(shè)計師有著很多的啟發(fā)。 每個國家都有自己發(fā)展的歷史基礎(chǔ)和根源。找到根源,發(fā)掘精華,結(jié)合每個人的氣質(zhì)與理論基礎(chǔ),尋找到合適的道路,這是中國當(dāng)代甚至未來設(shè)計師們必須要完成的事。如此,中國才能真正的變“中國制造”為“中國創(chuàng)造”。
[Abstract]:In the history of China and Japan, there have been several periods of more intensive cultural and economic exchanges. In these exchanges, more Chinese culture has a strong influence on Japanese culture, and decorative art as a form of carrying culture is also affecting Japan. However, people can feel the Japanese culture and Chinese culture in the same language and unique national flavor, whether from the traditional artifacts or the modern design works influenced by the traditional decorative art. In this paper, the horizontal comparison of multi-level and multi-angle is taken as the basic method, and the figures, colors and modern design works on the traditional objects are taken as an example to sum up and compare. Apart from the introduction, conclusion and prospect, this paper is divided into three parts. The second chapter compares the aesthetic consciousness in order to find the origin and development of the traditional decorative art in the two countries. The third chapter, from the traditional decorative art in the content and expression, color to form sense of comparison. From the Chinese decorative art, the pursuit of the picture is warm, rich with complex dynamic form, while the Japanese decorative art pursuit of calm, simple, with a simple form of quiet feeling. The fourth chapter, from the value comparison of the traditional decorative art to the modern society, finds that the modern designers in Japan have unremitting inheritance and development of the traditional decorative art of their own nation. This is a lot of inspiration for modern designers in China. Each country has its own historical basis and roots for development. It is necessary for Chinese contemporary and even future designers to find the right way to find the root cause, the essence and the basis of each person's temperament and theory. In this way, China can really change from "made in China" to "made in China."
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：J525

【引證文獻】

相關(guān)碩士學(xué)位論文 前3條

1 姜麗娜;現(xiàn)代中日扎染紋樣風(fēng)格的比較研究[D];江南大學(xué);2011年

2 劉盛楠;浮世繪審美特征研究[D];中南民族大學(xué);2010年

3 葉仲濤;童[鐫傲質(zhì)費枷牒頭椒ㄑ芯縖D];中南林業(yè)科技大學(xué);2011年

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本文編號：2185853