英国陶瓷产业与国家设计政策——以韦奇伍德为例  

Research on British Ceramics Industry and National Design Policy——Taking Wedgwood as an Example

作　　者：刘丽娴[1] 李樾 卢益婧 

机构地区：[1]浙江理工大学浙江省丝绸与时尚文化研究中心 [2]浙江理工大学服装学院 [3]浙江理工大学国际时装技术学院

出　　处：《创意与设计》2023年第5期83-88,共6页Creation and Design

基　　金：浙江省哲学社会科学领军人才培育专项子课题项目(22YJRC03ZD-1YB)。

摘　　要：1851年万国工业博览会伊始,欧洲陶瓷品牌集体撷择了一种艺术与商业兼容并蓄的设计运营方式,并藉由参展世博会拓展全球市场,逐步完成了由模仿借鉴到自主创新的主动转型。其中,乔塞亚·韦奇伍德作为英国陶瓷品牌商与设计师群体的代表,较早地意识到因政治格局、经济形势及艺术思潮转变而引发的消费群体变化,采用了当时英国陶瓷品牌普遍运用的国际市场拓展方式,通过对品牌自身风格的逐步确立,构建了具备国家与区域文化特色的英国高端陶瓷品牌形象。韦奇伍德作为18至19世纪英国陶瓷全球化进程中的典型案例,为我们厘清产业发展与国家设计政策间的逻辑事理提供了研究样本。At the beginning of the Great Exhibition of the Works of Industry of All Nations in 1851,European ceramic brands collectively selected a design and operation mode that was both artistic and commercial,and expanded the global market by participating in the World Expo,and gradually completed the active transformation from imitation to independent innovation.Among them,Josiah Wedgwood,as the representative of the British ceramic brand owners and designers,was early aware of the changes in consumer groups caused by the change of political pattern,economic situation and artistic trend of thought,and adopted the international market expansion method commonly used by British ceramic brands at that time.It has built a British high-end ceramic brand image with national and regional cultural characteristics.Wedgwood,as a typical case of the globalization of British ceramics in the 18th and 19th centuries,provides a research sample for us to clarify the logic between industrial development and national design policies with historical samples.

关 键 词：博览会 国家设计政策 英国陶瓷产业 韦奇伍德陶瓷品牌 

分 类 号：J537[艺术—艺术设计] K561.4[历史地理—历史学]