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作 者:昌隽如 高雯馨 孟庆波 CHANG Juan-ru;GAO Wen-xin;MENG Qing-bo(College of Art and Design,Qingdao University of Technology,Qingdao,Shandong 266033;College of Animation and Media,Qingdao Agricultural University,Qingdao,Shandong 266109)
机构地区:[1]青岛理工大学艺术与设计学院,山东青岛266033 [2]青岛农业大学动漫与传媒学院,山东青岛266109
出 处:《艺术百家》2024年第2期147-154,共8页Hundred Schools In Arts
基 金:2020年度山东省社科规划项目“胶东半岛海岸带传统村落价值挖掘与‘活化’研究”(项目编号:20CWYJ12)阶段性成果;2017年度山东省高校人文社科规划项目“服务型田间艺术区对乡村文化建设的构建研究”(项目编号:J17RA183)阶段性成果;2022年度山东省社科规划项目“山东解放区工农战斗艺术传播研究”(项目编号:22CWYJ09)阶段性成果之一。
摘 要:通过对胶东半岛即墨、莱西等地面磕子历史与现状的考察,结合胶东民间艺术在造型、审美和工艺方面的互通性,综合其社会内容的扩充、工艺的融汇及构图审美的拓展,能够发现面磕子视觉图案呈现的一个重要特点和隐形逻辑:多方面的逻辑集成性,包括图案知识集成性、工艺集成性、构图集成性,其视觉特征带有明显的从创作自发性到意识集成性的转变历程。通过胶东面磕子图案的艺术转化和语义解读,梳理文化符号的传承脉络,建设文化基因库,可以为传统面磕子与现代视觉设计相结合提供思路。Through the examination of the history and current situation of the noodle knocker in Jimo and Laixi on the Jiaodong Peninsula,combined with the interoperability of Jiaodong folk art in terms of modeling,aesthetics,and craftsmanship,and synthesizing the expansion of its social content,the fusion of craftsmanship,and the expansion of compositional aesthetics,it is possible to find that the noodle knocker's visual motifs present an important feature and an invisible logic:the logic of integration in many aspects,including the integration of knowledge of the motifs,the integration of craftsmanship,the integration of composition,the visual characteristics in the transmission path with an obvious transition from creative spontaneity to conscious integration,The visual characteristics have a clear transition from creative spontaneity to conscious integration.Through the artistic transformation and semantic interpretation of Jiaodong noodle knocker patterns,the inheritance lineage of cultural symbols is sorted out to build a cultural gene pool,and ideas are provided for the combination of traditional noodle knockers and modern visual design.
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