桃花坞年画“福字图”文化创意设计策略与应用研究  

作　　者：李婧吟 程鑫 张大鲁[1] 

机构地区：[1]苏州大学艺术学院

出　　处：《北京文化创意》2024年第6期17-28,共12页Beijing Culture Creativity

基　　金：江苏省高校优势学科建设工程项目(编号:NH10540021);2022年苏州大学人文社会科学青年交叉研究团队项目——传统地域文化视觉形象赋能研究(编号:NH33714522)阶段性成果。

摘　　要：面对新技术、新业态、新媒体所带来的新的审美范式,桃花坞年画“福字图”需要借助新策略以求发展。本文围绕桃花坞木版年画“福字图”这一个案的“创新”与“传播”,从桃花坞非遗“原真性保护”和“创意设计”两个视角的协同出发,探索桃花坞木版年画与孟菲斯艺术之间存在的共性,以及两者在设计风格上相互借鉴,彼此融合的可能。通过创意设计驱动非遗的创新与应用,在设计实践中促进桃花坞“福字图”这一文化符号活化、活态传承与生产性保护;通过桃花坞年画与后现代主义设计风格的结合,在“见人、见物”“见生活”的设计实践中释放传统文化的无限创造可能。Facing the new aesthetic paradigm brought about by new technologies, new business forms, and new media, the “Fu Character Image” of Taohuawu New Year paintings needs to leverage new strategies for development. This paper focuses on the “innovation” and “dissemination” of the Taohuawu woodblock New Year painting “Fu Character Image” as a case study, exploring the synergy between the “authenticity protection” and “creative design” of Taohuawu intangible cultural heritage. It investigates the commonalities between Taohuawu woodblock New Year paintings and Memphis Style, as well as the possibilities of mutual borrowing and integration in their design styles. By driving innovation and application of intangible cultural heritage through creative design, it promotes the revitalization, living inheritance, and productive protection of the cultural symbol “Fu Character Image” of Taohuawu in design practice. By combining Taohuawu New Year paintings with postmodern design styles, it unleashes the potential of traditional culture to empower the innovative application and development of cultural and creative product design in the practice of “seeing people, things, and life”.

关 键 词：桃花坞年画 福字图 文创设计 设计策略 孟菲斯风格 

分 类 号：J21[艺术—美术]