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  本文關(guān)鍵詞：毛澤東時(shí)代視覺符號(hào)研究　出處：《江南大學(xué)》2008年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 毛澤東 毛澤東時(shí)代視覺設(shè)計(jì) 視覺符號(hào)

【摘要】： 本篇立足于設(shè)計(jì)藝術(shù)這一角度,對(duì)毛澤東時(shí)代出現(xiàn)的各種視覺設(shè)計(jì)符號(hào)的再現(xiàn)和分析研究,揭示其與那個(gè)年代的中國(guó)各個(gè)層面之間千絲萬縷的聯(lián)系,從設(shè)計(jì)的發(fā)展過程中探求那段時(shí)期視覺設(shè)計(jì)本質(zhì)的演變規(guī)律。 本文第一章是緒論,結(jié)合課題背景,提出了本論文的主要研究目的和研究?jī)?nèi)容,并對(duì)相關(guān)概念作了界定。第二章是介紹了毛澤東時(shí)代視覺藝術(shù)所處的時(shí)代大背景。分為延安與解放區(qū)時(shí)期(1942年-1949年),新中國(guó)成立——文革前(1949年—1965年)和文革時(shí)期(1966年—1976年)。第三章是毛澤東時(shí)代視覺符號(hào)分類,本章介紹了毛澤東時(shí)代出現(xiàn)的各種視覺現(xiàn)象,具體有版畫漫畫、招貼、新年畫、票證、廣告設(shè)計(jì)、煙標(biāo)、旗幟、徽章、服裝、建筑等,結(jié)合其時(shí)代背景對(duì)其進(jìn)行剖析。第四章從政治性的題材、程式化和單一化的模式、象征性的圖形符號(hào)和色彩、粗壯化的字體、寫實(shí)主義的表現(xiàn)手法等幾個(gè)方面來作為毛澤東時(shí)代視覺設(shè)計(jì)風(fēng)格特征的總結(jié)。并從政治、經(jīng)濟(jì)、大眾審美需求和大眾心理、蘇聯(lián)影響等因素來分析毛澤東時(shí)代視覺設(shè)計(jì),以揭示其與當(dāng)代中國(guó)各個(gè)層面之間千絲萬縷的聯(lián)系。第五章闡述了毛澤東文藝思想對(duì)毛澤東時(shí)代視覺設(shè)計(jì)的影響。如毛澤東大眾化的觀點(diǎn)、文藝為革命事業(yè)服務(wù)的觀點(diǎn)、實(shí)踐的觀點(diǎn)、民族化的觀點(diǎn)、軍人政治的觀點(diǎn)、革命的現(xiàn)實(shí)主義與革命的浪漫主義觀點(diǎn)等。第六章毛澤東時(shí)代的視覺符號(hào)對(duì)現(xiàn)代藝術(shù)和設(shè)計(jì)的影響。意在揭示毛澤東時(shí)代的藝術(shù)樣式和話語模式對(duì)現(xiàn)代中國(guó)藝術(shù)家和設(shè)計(jì)師的影響。本篇第七章是結(jié)束語。
[Abstract]:Based on the angle of design art, this paper analyzes the reproduction and analysis of various visual design symbols that appeared in Mao Zedong's time, and reveals the inextricable links between them and the various levels of China in that era. From the process of development of design to explore the evolution of the nature of visual design in that period. The first chapter of this paper is the introduction, combined with the background of the subject, proposed the main purpose and research content of this paper. The second chapter introduces the background of the era of visual art in Mao Zedong's time. It is divided into the period of Yan'an and liberated areas (1942-1949). New China was founded before the Cultural Revolution (1949-1965) and during the Cultural Revolution (1966-1966). The third chapter is the classification of visual symbols in Mao Zedong era. This chapter introduces various visual phenomena in Mao Zedong's time, such as print cartoons, posters, New year's pictures, tickets, advertising design, cigarette signs, flags, badges, clothing, architecture and so on. Combined with the background of its era to analyze. 4th chapter from the political theme, stylized and unitary mode, symbolic graphics and color, bold font. Realistic expression techniques and other aspects as Mao Zedong era visual design style characteristics summary. And from the political, economic, popular aesthetic needs and popular psychology. Soviet influence and other factors to analyze the visual design of Mao Zedong era. In order to reveal the inextricable connection between Mao Zedong and various levels of contemporary China. Chapter 5th expounds the influence of Mao Zedong's literary and artistic thoughts on the visual design of Mao Zedong era, such as the popular viewpoint of Mao Zedong. The point of view that literature and art serve the cause of revolution, the viewpoint of practice, the viewpoint of nationalization, the viewpoint of military politics. Revolutionary realism and revolutionary romanticism, etc. The influence of visual symbols in Mao Zedong's era on modern art and design in 6th chapter. The purpose of this paper is to reveal the artistic style and discourse mode of Mao Zedong era to modern Chinese art. The influence of home and designer. This 7th chapter is the concluding remarks.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J509.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前4條

1 王弘;“文革”時(shí)期英模文化的歷史解讀[D];山東師范大學(xué);2011年

2 葛東輝;論文學(xué)的政治文化符碼[D];廣東技術(shù)師范學(xué)院;2010年

3 陳明強(qiáng);新中國(guó)結(jié)婚證書的圖像研究[D];中央美術(shù)學(xué)院;2013年

4 熊麗;二十世紀(jì)六、七十年代圖案造型的應(yīng)用研究[D];湖北工業(yè)大學(xué);2013年

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本文編號(hào)：1435129