中华民族视觉形象在当代禅意空间中的运用传播研究——以无锡拈花湾为例  

Research on the Application and Dissemination of the Chinese National Visual Image in Contemporary Zen Space——Take Wuxi Nianhua Bay as an Example

作　　者：成方中 许继峰[1] Cheng Fangzhong;Xu Jifeng

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《家具与室内装饰》2023年第6期109-115,共7页Furniture & Interior Design

基　　金：国家社科基金“铸牢中华民族共同体意识研究专项”重大项目(22VMZ004)。

摘　　要：为探究中华民族视觉形象的当代呈现与传播方式,本文以无锡拈花湾的禅意空间为例,对其中平面标识、建筑空间、动态场景等不同设计维度内中华民族视觉形象的运用进行分析。通过分析中华民族视觉形象这一文化传播载体,探究中华民族视觉形象与禅文化的融合共通之处,提出“对自然物象的比附”“对人为事物的凝练”“对文化典故的抽象”以及“人、事、物合于一体”等当代禅意空间内中华民族视觉形象的运用策略。然后,本文结合案例探讨了场景营造、沉浸体验、数字科技、声光结合、文旅融合、IP助力等中华民族视觉形象在禅意空间中的未来传播方向,为新时代文化背景和技术转型之下的新兴项目案例提供发展路径参考。In a bid to explore the contemporary presentation and dissemination of the visual image of the Chinese nation,this paper takes the Zen space in Wuxi Nianhua Bay as an example to analyze the application of the visual image of the Chinese nation in various design dimensions such as graphic signs,architectural spaces,and dynamic scenes.By investigating the cultural communication carrier of the visual image of the Chinese nation,explore the commonality of the fusion of the visual image of the Chinese nation and Zen culture,and put forward"comparison of natural objects"and"condensation of man-made things","Abstraction of cultural allusions"and"integration of people,events,and things"and other strategies for the use of visual images of the Chinese nation in contemporary Zen space.Subsequently,this article discusses the future communication direction of the visual image of the Chinese nation in the Zen space,such as scene creation,immersive experience,digital technology,sound and light combination,culture and tourism integration,and IP assistance,based on the case study,which provides reference for the development path of emerging project cases under the cultural background and technological transformation in the new era.

关 键 词：中华民族视觉形象 中国禅文化 当代禅意空间 运用传播 拈花湾 

分 类 号：TS664.1[轻工技术与工程]