本文選題：蒙族傳統(tǒng)紋樣 + 現(xiàn)代標(biāo)志設(shè)計(jì)　； 參考：《北方工業(yè)大學(xué)》2017年碩士論文

【摘要】：本課題選取標(biāo)志設(shè)計(jì)為例,主要探討如何將民族性的內(nèi)容實(shí)質(zhì)自然的引流到現(xiàn)代標(biāo)志設(shè)計(jì)中,從而用這一方法來(lái)有效的解決目前國(guó)內(nèi)標(biāo)志設(shè)計(jì)存在的一些突出問(wèn)題——有些設(shè)計(jì)作品已經(jīng)走入了盲目套用"中國(guó)風(fēng)",亂扣"民族風(fēng)"帽子的怪圈。只有真正解決這些問(wèn)題才能讓標(biāo)志設(shè)計(jì)走向新的高度,走出一條真正富有民族特色的道路。文章以蒙族傳統(tǒng)紋樣為例,挖掘了蒙族傳統(tǒng)紋樣的特點(diǎn)與"烏嘎拉吉"的精髓所在,并從構(gòu)成方式和描述題材兩個(gè)角度梳理了它的主要類型,提出了幾個(gè)現(xiàn)代標(biāo)志設(shè)計(jì)向蒙族傳統(tǒng)紋樣進(jìn)行借鑒的方法和建議,提倡將蒙族傳統(tǒng)紋樣的結(jié)構(gòu)形式以及構(gòu)圖方法進(jìn)行解構(gòu)、提煉與再設(shè)計(jì);將其藝術(shù)表現(xiàn)形式適時(shí)的引流到現(xiàn)代標(biāo)志設(shè)計(jì)中去,而不是簡(jiǎn)單的對(duì)既有紋樣進(jìn)行生搬挪用。其次對(duì)蒙族傳統(tǒng)紋樣的發(fā)源進(jìn)行了整理研究,主要與神話傳說(shuō),生活環(huán)境,宗教、巖畫(huà)與蒙漢交融有著密切的關(guān)聯(lián),并舉例闡述了其具體內(nèi)容。然后對(duì)蒙族傳統(tǒng)紋樣在現(xiàn)代標(biāo)志設(shè)計(jì)中的應(yīng)用現(xiàn)狀進(jìn)行了調(diào)查研究與走訪。發(fā)現(xiàn)對(duì)于蒙族本土地區(qū)來(lái)講,對(duì)于蒙族傳統(tǒng)紋樣的應(yīng)用相對(duì)來(lái)說(shuō)比較廣泛,但是也一定程度上存在照搬既有傳統(tǒng)紋樣的問(wèn)題。而非蒙族地區(qū)也曾出現(xiàn)過(guò)類似中國(guó)聯(lián)通標(biāo)志的經(jīng)典借鑒引用的例子,雖說(shuō)如此,但受地域文化的局限性,應(yīng)用范圍并不十分廣泛。繼而對(duì)蒙族地區(qū)與非蒙族地區(qū)的標(biāo)志設(shè)計(jì)分類提出了合理借鑒和應(yīng)用蒙族傳統(tǒng)紋樣的方法。最后提出只有深入挖掘包括蒙族傳統(tǒng)紋樣在內(nèi)的民族傳統(tǒng)文化才能真正的保護(hù)與弘揚(yáng)民族傳統(tǒng)文化,同時(shí)這也是現(xiàn)代標(biāo)志設(shè)計(jì)如何走出一條富有民族特色的設(shè)計(jì)之路的關(guān)鍵所在。
[Abstract]:This topic selects the sign design as an example, mainly discusses how to drain the nationality content into the modern sign design naturally, Thus, this method can effectively solve some outstanding problems existing in the domestic logo design at present-some design works have already entered the strange circle of blindly applying "Chinese style" and indiscriminately attaching "national wind". Only by really solving these problems can the logo design move to a new height and walk out a road with real national characteristics. Taking the Mongolian traditional pattern as an example, this paper excavates the characteristics of the Mongolian traditional pattern and the essence of "Ugaraji", and combs its main types from the two angles of composition and description of the subject matter. Several methods and suggestions of modern logo design for reference to Mongolian traditional pattern are put forward, and it is advocated to deconstruct, refine and redesign the structure form and composition method of Mongolian traditional pattern. It drains its artistic expression form into modern logo design, rather than simply misappropriating the existing pattern. Secondly, the origin of Mongolian traditional patterns is studied, which is closely related to myths and legends, living environment, religion, rock paintings and Mongolian and Han, and illustrates its specific content. Then the application of Mongolian traditional pattern in modern logo design is investigated and visited. It is found that the application of Mongolian traditional patterns is relatively extensive for the native Mongolian areas, but to some extent there is the problem of copying the existing traditional patterns. However, there have been some classic examples of reference and citation similar to China Unicom logo in non-Mongolian areas. However, due to the limitations of regional culture, the scope of application is not very wide. Then, the paper puts forward a reasonable method of drawing lessons from and applying the traditional patterns of the Mongolian nationality to the design and classification of the signs in the Mongolian region and the non-Mongolian area. Finally, it is proposed that only by digging deeply into the traditional national culture, including the Mongolian traditional pattern, can we truly protect and carry forward the national traditional culture. At the same time, this is the key of modern logo design.
【學(xué)位授予單位】：北方工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J524.4

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