从“工具性”到“超功利性”:以中国邮票设计史为中心的设计美学演进逻辑  

From“Instrumentality”to“Super Utilitarianism”:The Design Aesthetic Evolution Logic Centred on the History of Chinese Stamp Design

作　　者：周韧[1,2] Zhou Ren(School of Film,Television,and Media,Shanghai Normal University;Xianda College of Economics and Humanities,Shanghai International Studies University,Shanghai,200234)

机构地区：[1]上海师范大学影视传媒学院 [2]上海外国语大学贤达经济人文学院,上海200234

出　　处：《民族艺术研究》2023年第6期49-59,共11页Ethnic Art Studies

基　　金：国家社科基金艺术学重大项目“中国近代以来艺术中的审美理论话语研究”(项目批准号:20ZD28)的阶段性研究成果。

摘　　要：中国邮票一百四十多年的发行史也是一部完整的邮票设计史。从邮票设计的历史发展可以清楚地看到,邮票的图像艺术、色彩、齿孔或者造型形式,是在以工具性为起点,在思想观念和技术推动下逐渐成为精神与艺术上的审美对象,从而蜕变成在一定程度上具有超功利性的设计艺术作品,从中也可以看出设计美学始终包含着实用与艺术这两种功能主义与超功利性审美精神的辩证统一。The history of over 140 years of the release of Chinese stamps is also a history of a complete history of Chinese stamps.It can be seen,from the historical development of stamp design,that the graphic art,color,perforation,and shape of stamps,began with instrument,and gradually developed into an aesthetic object in the senses of spirit and art,under the advancement of ideology and technology.Thus,stamps became design works of art which is super utilitarian at some extent.Furthermore,it can be seen that the design aesthetics always contains the dialectical unity of two utilitarianism,namely utility and art,and super utilitarian aesthetic spirit.

关 键 词：邮票 设计美学 工具性 超功利性 

分 类 号：J524[艺术—艺术设计]