“跨文化”视阈下近代染织设计嬗变——以陈之佛为例  

The Evolution of Modern Textile Design from the Perspective of“Cross-culture”—Take Chen Zhifo as an Example

作　　者：张婧楠 牛犁 Zhang Jingnan;Niu Li

机构地区：[1]江南大学设计学院,江苏无锡214122

出　　处：《河南社会科学》2024年第3期116-124,共9页Henan Social Sciences

基　　金：国家社会科学基金艺术学重点项目“非物质文化遗产数据资源的智慧化保护与发展研究”(20AG011);教育部哲学社会科学研究重大课题攻关项目“汉族纺织服饰史料整理与中国风格实证研究”(21JZD048)。

摘　　要：受西方艺术运动思潮影响,近代中国在西方各国的文化输入与国内染织设计需求的外因内需共同作用下,染织设计与图案学体系在继承中国传统造物精神基础上参照西方现代设计理论,在探索中逐步创新形成中国本土化染织设计与图案学体系。以陈之佛为例,通过研究陈之佛近代染织设计图稿、相关教材与报纸文稿、尚美图案馆等相关实物资料,总结出在受“跨文化”影响下染织设计从初始借鉴、融合吸收再到逐步探索创新的嬗变过程,设计范式从适应传统手工业模式逐渐转变为服务于机械化生产,同时也开始注重美育与图案科教学以培养独立设计人才。这种既吸纳西方设计思想又继承中国传统“民族性”文化的模式创新对现代设计发展创新有着重要的借鉴作用,为新时代“中国风格”的构建提供了重要的思想启发。In modern China,influenced by the western art movements,the textile design and design theory have gradually innovated to form China’s local textile design and design theory on the basis of inheriting traditional Chinese creation spirit while referring to western modern design theory driven by the joint effect of input of Western culture from various countries and the demand for domestic textile design.Taking Chen Zhifo as an example,through studying Chen’s textile design drafts on sketchbooks,newspaper,magazine and articles,and relevant physical materials such as Shangmei Design Studio,we summarizes the evolution process of textile design under the influence of“cross-culture”from initial learning,integrating and absorbing to gradually exploring and innovating,and the paradigm of design has evolved from adapting to traditional handicraft mode to serving mechanized production which also began to pay attention to aesthetic education and teaching of pattern science to cultivate independent innovative talents.This model not only absorbs Western design ideas,but also inherits China’s“national”culture.It has important reference significance for the innovative development of modern design and provides important ideological inspiration for the construction of“new style of China”in the new era.

关 键 词：染织设计 图案 跨文化 陈之佛 中国风格 

分 类 号：G0[文化科学]