文旅融合背景下苏绣的品牌视觉识别系统设计策略  

Design Strategy of Suzhou Embroidery Brand Visual Identification System under the Background of Cultural and Tourism Integration

作　　者：贺琳 邓莉丽[1] 钱雨心 

机构地区：[1]江苏大学艺术学院,江苏 镇江

出　　处：《Design（汉斯）》2023年第4期2220-2228,共9页设计（汉斯）

摘　　要：苏绣起源于苏州,是以江南为中心辐射整个江苏地区所有刺绣产品的总称,首批国家级非物质文化遗产代表性项目,与蜀绣、湘绣、粤绣并称为中国四大名绣。2006年,苏绣成功入选第一批国家级非物质文化遗产名录。然而,随着时代发展,苏绣的发展面临着诸多问题。党的十八大以来,中国的文创产业得到国家的大力支持,发展十分迅速。由于人们对生活质量的追求,目前市场上非遗主题的文化产业与旅游项目往往都很受旅客欢迎,这与非遗丰富的文化内涵有着密切联系。本文基于文旅融合的社会背景,以“寻臻”苏绣工作室为例,对其品牌视觉识别系统进行设计,以期为相关非遗的传承与发展提供思路。Suzhou embroidery originated in Suzhou and is a collective term for all embroidery products that radiate from Jiangnan to the entire Jiangsu region. It is one of the first batches of national intangible cultural heritage representative projects and is known as the Four Famous Embroideries in China, along with Shu embroidery, Xiang embroidery, and Yue embroidery. In 2006, Su embroidery was successfully selected into the first batch of national intangible cultural heritage lists. However, with the development of the times, the development of Suzhou embroidery faces many problems. Since the 18th National Congress of the Communist Party of China, China’s cultural and creative industry has received strong support from the state and has developed rapidly. Due to people’s pursuit of quality of life, cultural industries and tourism projects with intangible cultural heritage themes are often popular among tourists in the current market, which is closely related to the rich cultural connotations of intangible cultural heritage. Based on the social background of cultural and tourism integration, this article takes the “Xunzhen” Suzhou embroidery studio as an example to design its brand visual recognition system, in order to pro-vide ideas for the inheritance and development of related intangible cultural heritage.

关 键 词：苏绣 非物质文化遗产 品牌视觉识别系统 文旅融合 

分 类 号：F42[经济管理—产业经济]