抽象艺术与当代设计符号美学  

Abstract Art and Contemporary Design from the Perspective of Semiotic Aesthetics

作　　者：陆正兰 Lu Zhenglan(School of Literature and Journalism,Sichuan University)

机构地区：[1]四川大学文学与新闻学院

出　　处：《符号与传媒》2023年第2期32-46,共15页Signs & Media

摘　　要：为何当代设计爱用“抽象艺术”方式?为何难以接受抽象艺术的大众却喜爱这种风格的设计作品?其中有时代趣味历史演变的原因,也有工业大规模生产的技术原因,但至今很少有学者从设计美学理论上加以说明。这是设计实践提出的问题,更是理解当代公共艺术设计、工艺设计、文化创意设计甚至产品设计等各种设计美学的关键问题。本文从“设计与器物意义合一”的符号美学出发,分析当代设计艺术中的部分三联滑动及其所构成的当代设计艺术“三性共存”的美学效果,试图提出一种原理性的解释。Why does contemporary design prefer an“abstract art”style?Why are people who have difficulty accepting the abstrac style in art willing to accept works of design in this style?These questions raised by design practice are important for understanding various design aesthetics,such as contemporary public art design,process design,cultural and creative design and even commodity design.Possible answers have been found in the historical evolution of interests and the technical factors of large-scale industrial production.However,few scholars have answered these questions from the perspective of semiotic aesthetics.Based on the semiotic aesthetic principle of"the unity of design and utensil meaning",this paper determines a preliminary explanation by analysing the partial triple sliding between the use of objects,the practical meaning and the aesthetic semiotic meaning in contemporary design,and the aesthetic effect of the"coexistence of three natures"in contemporary art.

关 键 词：抽象风格 当代设计 符号美学 三性共存 

分 类 号：J501[艺术—艺术设计]