發(fā)布時間：2018-06-10 07:52

  本文選題：中國圖騰 + 圖形��； 參考：《廣西師范大學(xué)》2011年碩士論文

【摘要】：中國圖騰圖形神奇獨特,是現(xiàn)代裝飾藝術(shù)設(shè)計的奇葩珍瑰。圖騰圖形藝術(shù)是一種以虛擬實的神奇意象創(chuàng)造,其突出特點在于：虛實相生、寫意傳神、形似萬象,與原始漁獵農(nóng)耕文明的社會群體生產(chǎn)、巫術(shù)、氣象、以及群體的審美心理、宗教信仰、民間習(xí)俗等方面聯(lián)系緊密。 在漫長的歷史變遷中,中華民族的生息繁衍與圖騰崇拜有著千絲萬縷的聯(lián)系,先民虔誠的崇拜著大自然中各種圖騰物,把它們視為本氏族的祖先,將氏族圖騰圖像刻畫在巖石或器具上,企求圖騰物的神力能保護氏族繁衍昌盛,這種觀念積淀在人類心靈意識底層,最終形成圖騰藝術(shù)與文化。圖騰圖形獨特的設(shè)計思維,是多種動物、植物、自然物局部重組構(gòu)成,源于現(xiàn)實,又高于現(xiàn)實。圖騰藝術(shù)的“寫意”、“傳神”、“適形”,是意、神、形的辯證統(tǒng)一。通過運用傳統(tǒng)與現(xiàn)代結(jié)合的設(shè)計理念,將圖騰圖形意象運用到當(dāng)今裝飾藝術(shù)領(lǐng)域,使傳統(tǒng)文化與時代觀念互相融合,相得益彰,出奇出新。論文從圖騰的起源,圖騰藝術(shù)形成的背景及其所蘊含的審美意識,側(cè)重于以圖騰圖形運用為主線,理解并運用圖騰文化的內(nèi)涵進行裝飾藝術(shù)創(chuàng)作與應(yīng)用,推陳出新,真正古為今用。中國古代的萬物和諧的整體思想,使中國兩千多年來的設(shè)計載體呈現(xiàn)出整體、協(xié)調(diào)、祥和的井然有序狀態(tài),是人文生態(tài)平衡和自然生態(tài)平衡的完美統(tǒng)一,是人類設(shè)計的理想境界。圖騰圖形的藝術(shù)創(chuàng)造,不僅是文化的精神載體,也是文化的物質(zhì)表現(xiàn),必定要面向大眾,以發(fā)揮其促進精神文明與物質(zhì)文明協(xié)調(diào)發(fā)展的綜合實效而獲得良好的社會效益與經(jīng)濟效益。這是精神與物質(zhì)互相轉(zhuǎn)化、辯證統(tǒng)一的實踐過程中,無疑會有利于延伸中國圖形藝術(shù)設(shè)計的發(fā)展。
[Abstract]:Chinese totem figure magic unique, is the modern decorative art design rare flower rose. Totem graphic art is a kind of magic image created by virtual reality. Its outstanding features are that the virtual reality is born together, the freehand brushwork is vivid, the figure is like all kinds of phenomena, and the social group production, witchcraft, meteorology, and aesthetic psychology of the group are compared with the primitive farming and hunting civilization. Religious beliefs, folk customs and other aspects are closely linked. In the long historical changes, the Chinese nation's prolific reproduction and totem worship are inextricably linked, and the ancestors devoutly worshipped all kinds of things in nature. They are regarded as the ancestors of the clan, and the totem images of the clan are depicted on the rocks or instruments in the hope that the magic power of the towering things can protect the reproduction and prosperity of the clan. This idea is accumulated at the bottom of the consciousness of the human mind, and finally forms the totem art and culture. Totem figure unique design thinking, is a variety of animals, plants, natural objects local reorganization, derived from reality, but also higher than reality. "freehand brushwork", "evangelism" and "conformality" of totem art are dialectical unity of meaning, god and form. By using the design idea of combining tradition and modern, totem figure image is applied to the field of decoration art nowadays, so that the traditional culture and the concept of the times can be combined with each other to complement each other, and the image of totem figure can be extraordinarily new. From the origin of totem, the background of totem art formation and its aesthetic consciousness, this paper focuses on the use of totem graphics as the main line, understanding and using the connotation of totem culture for decorative art creation and application, so as to bring forth new ideas. The past is for the present. The whole idea of harmony of all things in ancient China has made the design carrier of China for more than two thousand years present an overall, harmonious and peaceful state of order, which is the perfect unity of the balance of human ecology and natural ecology. It is the ideal realm of human design. The artistic creation of totem graphics is not only the spiritual carrier of culture, but also the material expression of culture. Good social and economic benefits can be obtained by giving play to the comprehensive effect of promoting the harmonious development of spiritual civilization and material civilization. This is the practice process of spiritual and material transformation and dialectical unity, which will undoubtedly help to extend the development of Chinese graphic art design.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J501

【參考文獻】

相關(guān)期刊論文 前4條

1 楊曉清;中外植物裝飾紋樣比較[J];滁州師專學(xué)報;2004年01期

2 李學(xué)勤;良渚文化玉器與饕餮紋的演變[J];東南文化;1991年05期

3 張朋川;彩陶藝術(shù)縱橫談[J];美術(shù);1983年08期

4 王家樹;;龍鳳形象及其歷史文化背景——龍鳳形象學(xué)初探[J];裝飾;1988年01期

，

本文編號：2002503