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作 者:邱晓胤[1] 陈淑芳 Qiu Xiao-yin;Chen Shu-fang(Zhangzhou City Vocational College,Zhangzhou 363000,China;College of Landscape Architecture and Art,Fujian Agriculture and Forestry University,Fuzhou 350002,China)
机构地区:[1]漳州城市职业学院,福建漳州363000 [2]福建农林大学风景园林与艺术学院,福建福州350002
出 处:《内蒙古艺术学院学报》2023年第3期170-177,共8页Journal of Inner Mongolia Arts University
基 金:福建省中青年教师教育科研项目立项项目“传统吉祥纹样在现代标志设计中的应用与创新研究”(项目编号JAS171155)的系列研究成果;2021年度福建省社会科学基金项目“传统院落的拓扑关系及可持续研究”(项目编号:FJ2021C097)的阶段性研究成果。
摘 要:吉祥纹样作为中国传统视觉艺术的重要组成部分之一,寄托着人们对生活美满、和谐安康的愿望,凝聚了中华民族几千年智慧的结晶,在表现形式上具有较高的艺术审美价值,为现代艺术提供了取之不尽、用之不竭的源泉。在信息化高速发展的今天,现代标志设计,应积极融入国际化的设计语言,融合现代审美观念,把传统吉祥纹样纳入到现代标志设计中,体现出传统吉祥纹样新的意境美感,这种意境之美,通过其承载的形式,又对现代审美情趣和理念产生触动,进而孕育出现代设计中的经典设计范例。本文旨在讨论现如今大众对于传统纹样的审美接受范围,究竟是具有怎样的形式美感的传统纹样,会被更广大的大众所接受,并且会被拿来进行二次创作,而通过这样的动态对比,来探求人们古为今用的审美接受的变化历程。As one of the important components of traditional Chinese visual art,auspicious patterns are the embodiment of people's wishes for a happy life,harmony and well-being,and the crystallization of thousands of years of wisdom of the Chinese nation.They have high artistic aesthetic value in the form of expression,and provide inexhaustible source for modern art.Today,with the rapid development of information technology,modern logo design should actively accept the international design language,integrate the modern aesthetic concept,integrate the traditional auspicious patterns into the modern logo design,reflecting the artistic conception of the traditional auspicious patterns,the artistic conception of the beauty through its bearing form and further promote the modern aesthetic,showing some classic design examples in modern design.The purpose of this paper is to discuss the range of aesthetic acceptance of traditional patterns by the public,how traditional patterns with formal beauty can be accepted by the public and used for secondary creation and design,and through such linkage comparison between ancient and modern,explore the changing process of people's aesthetic acceptance since ancient times.
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