符号学视域下草间弥生圆点符号的设计语言研究——以《草间弥生:一九四五年至今》艺术展为例  

Design Language of Yayoi Kusama’s Dot Symbol from the Perspective of Mioticsby the Art Exhibition Yayoi Kusama:1945 Present

作　　者：周敏子 丁文霞[1] 张翔 陈幸幸 ZHOU Min-zi;DING Wen-xia;ZHANG Xiang;CHEN Xing-xing(School of Design,Anhui Engineering University,Wuhu,241000,Anhui)

机构地区：[1]安徽工程大学设计学院,安徽芜湖241000

出　　处：《蚌埠学院学报》2024年第4期49-53,共5页Journal of Bengbu University

摘　　要：从符号学视域出发,探寻了草间弥生圆点符号语言形成的脉络,以及对《草间弥生:一九四五年至今》艺术展中的三类作品——《南瓜》《圆点执念——渴望天堂的爱》《神经的死亡》的考察,发现圆点在像似符号上进行了艺术拓展,带来了在规约性符号上更加多维的情感,以及哲学意义上的表达。分析认为,草间弥生通过圆点符号化设计以及在艺术媒介上的不同创新,衍生出设计的批判性观念,突破了传统艺术语言的表达,以及彰显出别具一格的现代艺术符号设计思维。阐述了草间弥生的艺术观念,从而加强了对其艺术理念的理解与探讨,进而也为启发现代设计提供了新路径。Starting from the perspective of semiotics,it explored the formation of the symbolic language of Yayoi Kusama’s dots in this paper,as well as examined three types of works in the art exhibition Yayoi Kusama:1945 Present;Pumpkin,Dot Obsession-longing for Love in Heaven and Death of the Nerves.It found that dots have been artistically expanded in symbolic representation,have broken through the expression of traditional artistic language to bring more multidimensional emotions in normative symbols and philosophical expressions.Yayoi Kusama critical design concepts has derived and demonstrated a unique modern artistic symbol design thinking through dot symbolization design and different innovations in artistic media,which enhaced the understanding and provided a new path for moderndesign.

关 键 词：草间弥生 圆点符号 现代艺术设计 

分 类 号：J51[艺术—艺术设计]