【摘要】：吉祥紋樣作為我國的傳統(tǒng)藝術(shù)表現(xiàn)形式,在各類器皿載體上的應(yīng)用廣泛。吉祥紋樣是中國傳統(tǒng)紋樣中的重要門類,因其特有的吉祥美好寓意,具有實(shí)用性強(qiáng),流傳范圍廣的特點(diǎn),深受廣大百姓的喜愛。隨著機(jī)械化生產(chǎn)在現(xiàn)代社會(huì)生活中的滲透,工業(yè)化的生產(chǎn)模式使現(xiàn)代日用陶瓷的發(fā)展越來越快,每天都有成千上萬的現(xiàn)代日用陶瓷從生產(chǎn)流水線中流向各大市場(chǎng)。陶瓷自古以來就是吉祥紋樣展示和傳承的重要載體,陶瓷的視覺語言也離不開吉祥紋樣的裝飾點(diǎn)綴�，F(xiàn)代日用陶瓷市場(chǎng)中不乏吉祥紋樣的裝飾運(yùn)用,然而,我們所見的一些日用陶瓷的裝飾只是吉祥紋樣表現(xiàn)形式的照搬照抄,使產(chǎn)品顯的較為刻板,甚至有些吉祥紋樣的裝飾已經(jīng)脫離了現(xiàn)代人的審美需求,這說明部分設(shè)計(jì)師缺乏對(duì)吉祥紋樣寓意內(nèi)涵和基本藝術(shù)表現(xiàn)形式的了解,導(dǎo)致了其裝飾設(shè)計(jì)的空洞,致使產(chǎn)品主題表達(dá)意義模糊。因此,要使吉祥紋樣在現(xiàn)代日用陶瓷裝飾設(shè)計(jì)中更好的發(fā)揮其合理的裝飾意義,作為設(shè)計(jì)師必須系統(tǒng)的了解中國吉祥紋樣的發(fā)展演變歷程,挖掘其深層次的文化內(nèi)涵語義和研究其豐富多樣的藝術(shù)表現(xiàn)外延語義,只有這樣才能讓吉祥紋樣在現(xiàn)代日用陶瓷中的應(yīng)用更加出彩,才能將我們民族的優(yōu)秀藝術(shù)文化發(fā)揚(yáng)傳承。吉祥紋樣作為一種視覺形態(tài),有其深厚的形態(tài)語義內(nèi)涵和豐富的形態(tài)外延語義表現(xiàn)形式。本文針對(duì)吉祥紋樣在現(xiàn)代日用陶瓷裝飾設(shè)計(jì)中出現(xiàn)的問題,運(yùn)用形態(tài)語義學(xué)的分析方法,從形態(tài)符號(hào)認(rèn)知的角度,系統(tǒng)地分析了吉祥紋樣在現(xiàn)代日用陶瓷裝飾設(shè)計(jì)中的形態(tài)內(nèi)涵語義和外延語義,這對(duì)吉祥紋樣在現(xiàn)代日用陶瓷中的裝飾運(yùn)用具有指導(dǎo)意義。隨著社會(huì)的進(jìn)步、人們審美水平的提高,吉祥紋樣在現(xiàn)代日用陶瓷裝飾中的形態(tài)語義發(fā)生了一定演變,這種演變的實(shí)質(zhì)是吉祥紋樣形態(tài)語義在現(xiàn)代日用陶瓷裝飾設(shè)計(jì)中精華的傳承與創(chuàng)新,這種傳承與創(chuàng)新讓吉祥紋樣在現(xiàn)代日用陶瓷中的裝飾運(yùn)用更加靈活生動(dòng)、更符合現(xiàn)代人的審美需求�；谏鲜隼碚撗芯糠治�,結(jié)合自身實(shí)踐調(diào)研的案例,論證了這一研究對(duì)吉祥紋樣在現(xiàn)代日用陶瓷裝飾設(shè)計(jì)中的指導(dǎo)意義。本文只是對(duì)吉祥紋樣在現(xiàn)代日用陶瓷裝飾設(shè)計(jì)中形態(tài)語義的初步探究,今后還會(huì)做進(jìn)一步的深入研究,希望能為吉祥紋樣在現(xiàn)代日用陶瓷的裝飾設(shè)計(jì)中提供一定的理論幫助。
[Abstract]:Auspicious patterns, as the traditional art form of our country, are widely used in various vessel carriers. Auspicious pattern is an important category in Chinese traditional pattern, because of its unique auspicious and beautiful moral, it has the characteristics of strong practicability and wide spread, and is loved by the masses of people. With the penetration of mechanized production in modern social life, the industrial production model makes the development of modern daily ceramics more and more rapid. Every day, thousands of modern daily ceramics flow from production line to every market. Ceramics has been an important carrier of auspicious patterns display and inheritance since ancient times, ceramic visual language can not be separated from auspicious patterns decoration embellishment. There is no lack of auspicious decorative patterns in the market of modern domestic ceramics. However, some of the ornaments we have seen are just copying the expression forms of auspicious patterns to make the products more rigid. Even some auspicious patterns of decoration have been divorced from the aesthetic needs of modern people, which shows that some designers lack understanding of the meaning of auspicious patterns and the basic artistic forms of expression, leading to the void of their decorative designs. Causes the product theme to express the meaning to be ambiguous. Therefore, in order to make auspicious patterns better play its reasonable decorative significance in modern daily ceramic decoration design, as designers must systematically understand the development and evolution of auspicious patterns in China. Only in order to make the application of auspicious patterns in modern daily ceramics more brilliant can we develop and inherit our nation's excellent art culture by excavating its deep cultural connotation and studying its rich and diverse artistic expression denotation semantics. As a kind of visual form, auspicious pattern has its profound semantic connotation of morphology and abundant semantic expression form of morphological extension. In this paper, aiming at the problems of auspicious patterns in the design of modern daily ceramic decoration, we use the morphological semantics analysis method, from the perspective of morphological symbol cognition, This paper systematically analyzes the morphological connotation and extension semantics of auspicious patterns in the decoration design of modern domestic ceramics, which is of guiding significance for the decoration and application of auspicious patterns in modern domestic ceramics. With the progress of society and the improvement of people's aesthetic level, the morphology and semantics of auspicious patterns in modern daily ceramic decoration have evolved to a certain extent. The essence of this evolution is the inheritance and innovation of the essence of auspicious patterns and semantics in modern daily ceramic decoration design. This inheritance and innovation makes the decoration of auspicious patterns in modern daily ceramics more flexible and vivid. More in line with the aesthetic needs of modern people. Based on the above theoretical research and case study, this paper demonstrates the guiding significance of this research in the design of modern ceramic decoration. This paper is only a preliminary study of the morphology and semantics of auspicious patterns in the decoration design of modern daily ceramics, and will do further research in the future, hoping to provide certain theoretical help for auspicious patterns in the decoration design of modern daily ceramics.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J527

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王怡蘋;;“番蓮花”紋釋考[J];南方文物;2012年03期

，

本文編號(hào)：2213492