中国传统绘画线条在当代首饰设计中的运用  

The Application of Chinese Traditional Painting Lines in Contemporary Jewelry Design

作　　者：李沛竹 汪晓玥[1,2] LI Peizhu;WANG Xiaoyue(Gemmological Institute,China University of Geosciences,Wuhan 430074,China;Hubei Key Research Base of Humanities and Socical Sciences—Center for Jewelry Heritage and Innovation,Wuhan 430074,China)

机构地区：[1]中国地质大学珠宝学院,湖北武汉430074 [2]湖北省人文社科研究基地“珠宝首饰传承与创新发展研究中心”,湖北武汉430074

出　　处：《宝石和宝石学杂志（中英文）》2022年第4期76-82,共7页Journal of Gems & Gemmology

基　　金：湖北省高等学校人文社会科学重点研究基地“珠宝首饰传承与创新发展研究中心”项目编号CJHIWZ-2021010。

摘　　要：中国传统绘画具有深厚的传统文化底蕴和人文精神,其中的线条作为一种重要的艺术语言,融合了各种哲学思想和中华民族的审美情趣,对于物象的形、神、气、质都有极强的表现力,展现了设计师的设计思想和精神内涵。笔者通过对中国绘画线条在首饰设计中的意义、背景、理论依据进行研究分析,以吴道子的绘画线条为参考,尝试将中国绘画线条的起承转合运用在首饰设计中,运用增加厚度、弯曲、扭转等方式赋予线条体积变化与空间关系,最终完成线条二维至三维结构的转化,并将这样的结构运用在首饰设计中,为首饰增添独具特色的东方神韵。Chinese traditional painting has profound traditional cultural details and humanistic spirit,in which the lines,as an important artistic language,combines various philosophical thoughts and the aesthetic taste of the Chinese people.The lines in Chinese traditional painting have strong expressive force to the image of the shape,spirit,temperament,and texture of the object,and show the designer’s design thought and spiritual connotation.Based on the research and analysis of the significance,background and theoretical basis of Chinese traditional painting lines in jewelry design,taking lines in ancient Chinese painter Wu Daozi’s painting as references,this paper tries to apply the Chinese traditional painting lines into jewelry design.By using methods such as increasing the thickness,bending,twisting etc.,in jewelry design to change the volume of lines and their spatial relations,the lines transformed from two-dimensional to three-dimensional structure,which adds a unique oriental charm to the jewelry designed.

关 键 词：中国传统绘画 线条 首饰设计 

分 类 号：TS93[轻工技术与工程]