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作 者:程雪松 Cheng Xuesong(Shanghai Academy of Fine Arts,Shanghai University,Shanghai,200444)
出 处:《民族艺术研究》2024年第3期112-123,共12页Ethnic Art Studies
基 金:2021年度教育部首批“新文科研究与改革实践”项目(项目批准号:2021160030)的阶段性研究成果。
摘 要:以“人类命运共同体”视域下的“世博会中国馆设计的困境与根源”“理念指引意义”“重构国家形象设计的三组关系”“国家形象创新设计思路”四个维度为切入点,梳理形象设计的三个维度——符号生产、形象生成和传播生效,指出世博会中国馆设计长期存在“无内涵呓语”“无声息失语”“无边际妄语”等困境,根源在于设计者身陷“留恋传统、困顿当下、羡慕西方”的阈限焦虑。“人类命运共同体”为解决这一困境提供了价值坐标,有助于重新定位自身,确立新使命、塑造新形象、拓展新视野。在此基础上,需要重构“元素/系统”“现实/想象”和“我塑/他塑”三组关系。最后提出基于该理念的国家形象创意设计思路,为国家形象设计的研究与实践提供新的范式想象和学科出路。This paper takes four dimensions as the entry points under the perspective of “Community with Shared Future for Mankind”:“Challenges and Roots in the Design of China Pavilion at the World Expos”,“Guiding Significance of the Concept”,“Reconstructing Three Relationships in the Designof National Image” and “Innovative Design Approaches for the National Image”.It organizesthree dimensions of image design:symbol production,image generation,and effective dissemination,and then points out the long-standing issues in the design of China Pavilion:meaningless rambling,silent muteness,and boundless blabbering.The root of these problems lies in the designers' threshold anxiety,namely “nostalgia for tradition,present difficulties,and admiration for the West”.The concept of a “Community with Shared Future for Mankind” provides a value coordinate to solve these dilemmas,helping to reposition oneself,establish a new mission,shape a new image,and expand new horizons.On this basis,it is necessary to reconstruct three sets of relationships:“elements/systems”,“reality/imagination” and “self-construction/other-construction”.Finally,it proposes creative design approaches for national image based on this concept,offering new paradigms and disciplinary avenues for the research and practice of national image design.
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