【摘要】：魚(yú)紋裝飾的構(gòu)成演化是一個(gè)形式與內(nèi)容不斷積淀演化的產(chǎn)物,蘊(yùn)涵著高度的裝飾性和概括性。作為中國(guó)傳統(tǒng)的裝飾文化形式之一,隨著社會(huì)的進(jìn)步和設(shè)計(jì)思維的不斷更新,它將繼續(xù)服務(wù)于裝飾領(lǐng)域并具有強(qiáng)大的生命力。因此,我們應(yīng)該珍惜祖先優(yōu)秀的文化遺產(chǎn),從現(xiàn)代設(shè)計(jì)的角度對(duì)傳統(tǒng)魚(yú)紋加以研究與運(yùn)用。在當(dāng)今設(shè)計(jì)領(lǐng)域追求時(shí)尚性、多元性和國(guó)際性的同時(shí),決不能忽視傳統(tǒng)裝飾設(shè)計(jì)的經(jīng)典語(yǔ)言。而這種強(qiáng)調(diào)民族性、本土化的設(shè)計(jì)語(yǔ)言也確實(shí)成為當(dāng)今陶瓷裝飾設(shè)計(jì)領(lǐng)域的新趨勢(shì)。
[Abstract]:The composition and evolution of fish grain decoration is a product of continuous accumulation and evolution of form and content, which contains a high degree of decoration and generality. As one of the traditional decorative cultural forms in China, with the development of society and the renewal of design thinking, it will continue to serve the decoration field and has strong vitality. Therefore, we should cherish the outstanding cultural heritage of our ancestors and study and apply the traditional fish patterns from the perspective of modern design. While pursuing fashion, pluralism and internationalism in today's design field, the classical language of traditional decorative design must not be ignored. This emphasis on nationality and localization of the design language has indeed become a new trend in the field of ceramic decoration design.
【作者單位】： 大連外國(guó)語(yǔ)學(xué)院國(guó)際藝術(shù)學(xué)院
【分類號(hào)】：J527

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1 劉虹;說(shuō)“魚(yú)”—解析中國(guó)魚(yú)紋裝飾[D];遼寧師范大學(xué);2006年

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本文編號(hào)：2264367