当前位置:主页 > 文艺论文 > 绘画艺术论文 >

文人画精髓及其在现代平面设计中的应用研究

发布时间:2019-07-02 16:22
【摘要】:在当今中国物质文化方面的生活程度越来越高的背景下,生活方式与当今社会以及世界接轨的程度变高,对民众的生活习性的影响也逐渐变大。之于民众生活的各个层面,必不可少的就是设计,设计就如同电灯一样,没有的话现代人根本没有办法好好生存。如今,设计在商品市场中有特别大的推动效应,是民众购买商品的指南针,此外,由于物质供应比较充足,民众在精神生活以及文化生活方面提出更高的设计要求。与此同时,中国当代的平面设计因为发源于西方,所以很少融入中国传统精神元素,也因此出现了很多缺陷。尽管西方当代设计在一定程度上拓宽了民众视野,对于民众的设计理念大有裨益,但是在向其学习时,应该注重于其在设计方面进步的思考方法、科技、经验,并非移植他国文化。唯有融入中国传统文化元素并进行深入挖掘,中国当代平面设计才具有中国特色,才会成为使国人产生热烈的文化认同感。历经五千年岁月的洗礼,以民族本身拥有的传统文化为基石,中华民族融合了多种外族文化,创造了璀璨的传统文化。在兼收并蓄和去粗取精之后,以音乐、文艺、宗教等作为元素,产生了浓厚的传统文化以及独有的鉴别和领会事物和艺术美的观点。作为中国画的主体,文人画能较好体现我国在文艺方面的传统的鉴别和领会文艺美的观点。通过对文人画产生发展过程以及哲学指导思想的分析,发现文人画审美中的“意境”说,以及其在画面意境中所推崇的清逸旷达的境界等等。寻找到这种画面“意境”说对现代平面设计的可借鉴之处,并分析在这种审美观念下的文人画构图程式法则,色彩体系,大量重复出现的寄有文人气节操守的题材,以及文人画独有的:诗书画印结合等这些特点如何运用到我们现代平面设计创作之中。本文主要分为六个章节:第一章绪论,主要从选题背景、国内外研究现状出发,并对所研究的文人画精髓进行概念和范畴的界定,明确研究其与现代平面设计相结合的目的,意义和创新点,阐明本研究的重要性。第二章传统文人画的发展过程及美学思想,文人画在中国历史上是有着悠久的发展历史的,在本章中,我将把美学与历史结合起来,系统地从文人画的重大发展变革和美学思想的角度,阐述文人画的具体特征。第三章我国现代平面设计审美观的新特征及吸收传统文化内涵的必要性,研究分析现代平面设计中的新的审美模式以及从本土文化的认同价值来分析,传统文人画精髓与现代平面设计相结合的价值与必要性。第四章中国现代平面设计对传统文人画构成的借鉴,通过实际案例来证明现代平面设计在构图方面及色彩构成方面对文人画的借鉴及应用。第五章中国现代平面设计对传统文人画审美观的借鉴,将在本章通过案例分析来阐述现代平面设计作品对文人画审美观的借鉴和应用,并提出建议。第六章总结与展望
[Abstract]:In the background of more and more life in China's material culture, the way of life is becoming more and more important to the current society and the world, and the influence on the living habits of the population gradually becomes larger. For every aspect of the people's life, it is essential that the design and design be the same as the electric lamp, and the modern people have no means to live well. Today, the design has a particularly large driving effect in the commodity market, a compass for people to buy goods, and, in addition, due to the adequacy of material supply, the population has made higher design requirements in terms of spiritual life and cultural life. At the same time, the contemporary graphic design of China is because of its origin in the West, so it is rarely integrated into Chinese traditional spiritual elements, and there are many defects. Although the western contemporary design has widened the people's field of view to a certain extent, it is of great benefit to the people's design idea, but when studying it, it should focus on the thinking method, technology and experience of the progress in the design, and not the culture of other countries. Only by integrating into Chinese traditional cultural elements and carrying out in-depth excavation, China's contemporary graphic design has the Chinese characteristics, which will make the Chinese people have a warm cultural identity. After the baptism of the five thousand years, with the traditional culture of the nation itself, the Chinese nation has fused a variety of foreign cultures and created a brilliant traditional culture. After taking and storing and removing the essence, the author has produced a strong traditional culture and a unique perspective on the identification and the artistic beauty by using music, literature and art, religion, etc. as an element. As the main body of Chinese painting, the literati painting can better embody the traditional Chinese literature and art's traditional identification and grasp the view of the beauty of literature and art. Through the analysis of the development process of the literati painting and the philosophy of philosophy, it is found that the "artistic conception" in the aesthetic of the literati painting, and the state of the clear and free of the artistic conception, and so on. This kind of screen "artistic conception" is found to be a reference to the modern graphic design, and the writer's painting composition program rule and the color system under this aesthetic concept are analyzed. How to use these features in the design of modern graphic design. This paper is divided into six chapters: Chapter one, the introduction, mainly from the background of the topic, the present situation of the research and abroad, and the definition of the concept and the category of the essence of the study, and the purpose, meaning and innovation point of the combination with the modern graphic design are clearly studied. Clarify the importance of this study. In the second chapter, the development process and the aesthetic thought of the traditional literati painting have a long history of development in the history of China. In this chapter, I will combine the aesthetics with the history, and systematically from the angle of the great development change and the aesthetic thought of the literati painting. The concrete features of the literati painting are described. The third chapter analyzes the new characteristics of modern graphic design and the necessity of absorbing the connotation of the traditional culture, and studies the new aesthetic mode in modern graphic design and the recognition value of the local culture. The value and necessity of the combination of the essence of the traditional literati and the modern graphic design. The fourth chapter is the reference to the traditional Chinese painting by the modern graphic design of China, and through the practical case, it is proved that the modern graphic design has the reference and application to the literati painting in the aspects of composition and color. In chapter five, the modern graphic design of China can be used for reference for the aesthetic of the traditional Chinese painting, and the reference and application of the modern graphic design work to the aesthetic of the literati painting will be explained through the case analysis in this chapter, and the suggestions are put forward. Chapter 6 Summary and Prospect
【学位授予单位】:浙江理工大学
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:J212;J51

【参考文献】

相关期刊论文 前10条

1 刘众一;;用现代设计观念浅析近现代文人画的构成元素[J];荣宝斋;2013年02期

2 陈芳;;中国传统图案的色彩提取与再设计研究[J];新课程(教育学术);2012年03期

3 陈洁;;传统文人画形式与内涵在平面设计中的传承[J];南京艺术学院学报(美术与设计);2010年05期

4 孟献忠;;从“势”看现代插图的中西设计文化差异[J];湖南农业大学学报(社会科学版.素质教育研究);2008年05期

5 刘莉君;;中国古典美学的当代和谐追求[J];郑州航空工业管理学院学报(社会科学版);2008年01期

6 王志敏;;试析中国传统文人画的审美倾向[J];许昌学院学报;2007年04期

7 胡友慧;;新文人画:传统文人画的现代性转换[J];湖南文理学院学报(社会科学版);2007年04期

8 张丽波;;浅析中国花鸟画中的“四君子”题材[J];艺术教育;2007年01期

9 周跃西;解读中华五色审美观[J];美术;2003年11期

10 郑岳华;文人画中的经营法则与西方构成法[J];艺术探索;1999年04期

相关重要报纸文章 前3条

1 朱良志;;传统文人画的人文价值[N];光明日报;2016年

2 隋永刚;;被滥用的“文人画”概念[N];北京商报;2015年

3 卢辅圣;;文人之画与文人画[N];美术报;2013年

相关硕士学位论文 前6条

1 韩睿思;文人画的发展及演变[D];吉林大学;2014年

2 胡琳;论中国文人画审美观念在我国现代平面设计中的运用[D];苏州大学;2012年

3 王艳梅;从文人画观中国文化中的图像话语权[D];山东师范大学;2010年

4 陈莎莎;文人士大夫阶层与文人画产生之关系初探[D];南京师范大学;2007年

5 佟欣鑫;日本江户时代的文人画及其与中国文人画的比较[D];中国艺术研究院;2007年

6 刘晓欧;古代文人画对中国画发展的消极影响[D];东北师范大学;2005年



本文编号:2509083

论文下载
论文发表


本文链接:http://www.bigengculture.com/wenyilunwen/huihuayishu/2509083.html

分享是种美德