首饰的吉祥寓意与吉祥表达
发布时间：2018-10-15 09:24
【摘要】：时代在变化，传统的吉祥寓意首饰的造型已不再符合现代人的审美要求，但是人们仍存有追求吉祥、幸福生活的美好愿望与情感诉求。因而，本文试图通过研究中国的吉祥文化与首饰设计的融合——赋予首饰以文化性的课题，以期望借助于民族文化的底蕴，探讨符合现代人审美情趣与品味的吉祥寓意首饰风貌，进而为首饰的本土化原创设计提供一个参考价值与拓宽现代首饰的创意设计思路。 本文首先界定了吉祥寓意首饰的内涵，并通过研究吉祥寓意首饰的历史发展过程，总结出其发展演变的主要三个阶段及其阶段的变化特点；其次分析、总结出吉祥寓意首饰的市场现状特点；接着通过对中国传统的吉祥寓意表现内容的分析，并结合实例探讨其与首饰设计融合的创意思路；然后又结合具体实例探讨了现代吉祥寓意首饰的艺术表现，并亲自进行了一些设计与加工；最后，提出了一些建设性的市场营销思路。通过研究总结出： 1.中国的吉祥文化源远流长，而吉祥寓意首饰的历史发展过程（以汉民族的吉祥寓意首饰为重点探讨范围），其主要经过了三个阶段：从远古到新石器时期，形成图腾符号信仰阶段的雏形期；从夏商周朝到元朝，形成封建阶级观念下的发展期；明清时社会工艺美术日益世俗化带来的兴盛期。 2.吉祥寓意首饰的设计思路不能只局限在吉祥纹样的转化，而应从传统吉祥寓意的表现内容上如物态符号，图案符号，，吉祥元素符号以及节庆元素符号等进行多方面的创意思路设计。 3.应着重塑造吉祥寓意首饰的品牌风格，其关键在于其产品风格的诠释，产品风格多是通过首饰的色彩、纹样、材质、肌理、工艺、题材等各方面的综合表现而被消费者感知。 4.在确定好产品风格之后，应根据中国现代的每个节日特点，选择适当的吉祥寓意题材，进行节日系列产品开发，最后通过事件营销、网络营销、广告与宣传等营销方式将产品推向市场。
[Abstract]:The times are changing, the traditional auspicious symbolic jewelry shape has no longer met the aesthetic requirements of modern people, but people still have the pursuit of auspicious, happy life and emotional aspirations. Therefore, this paper attempts to study the integration of Chinese auspicious culture and jewelry design, which is the subject of giving jewelry a cultural character, in order to hope for the help of the national culture. This paper probes into the auspicious connotations of jewelry that accord with the aesthetic taste and taste of modern people, and then provides a reference value for the native original design of jewelry and a creative design idea to broaden the modern jewelry. This paper first defines the connotation of auspicious meaning jewelry, and through the study of the historical development process of auspicious moral jewelry, summarizes the main three stages of its development and evolution and the change characteristics of its stages. This paper summarizes the market characteristics of auspicious symbolism jewelry, and then analyzes the traditional Chinese auspicious signification performance content, and discusses the creative ideas of combining it with jewelry design through the analysis of Chinese traditional auspicious moral performance content. Then it discusses the artistic expression of modern auspicious jewelry with concrete examples, and designs and processes it in person. Finally, it puts forward some constructive marketing ideas. The results are as follows: 1. The auspicious culture of China has a long history, and the historical development process of auspicious jewelry (focusing on the auspicious moral jewelry of the Han nationality) has mainly gone through three stages: from ancient times to the Neolithic period. The embryonic period of totem symbol belief stage; from the Xia, Shang and Zhou dynasties to the Yuan Dynasty, the formation of feudal class concept under the development period; Ming and Qing dynasties, the increasingly secularization of social arts and crafts brought prosperity. 2. The design idea of auspicious moral jewelry should not be limited to the transformation of auspicious patterns, but should be based on the traditional auspicious symbols, such as physical symbols, pattern symbols, etc. Auspicious element symbol as well as festival element symbol and so on carries on the many aspects creative thought design. 3. Emphasis should be placed on shaping the brand style of auspicious jewelry, the key to which lies in the interpretation of its product style, which is mostly through the color, pattern, material, texture, craftwork of the jewelry. Subject matter and other aspects of the comprehensive performance of consumer perception. 4. After determining a good product style, we should select appropriate auspicious moral themes according to the characteristics of each festival in modern China, and carry out the development of holiday series products. Finally, through event marketing and network marketing, Marketing methods such as advertising and publicity push products to the market.
【学位授予单位】：中国地质大学(北京)
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J526
本文编号：2272088
[Abstract]:The times are changing, the traditional auspicious symbolic jewelry shape has no longer met the aesthetic requirements of modern people, but people still have the pursuit of auspicious, happy life and emotional aspirations. Therefore, this paper attempts to study the integration of Chinese auspicious culture and jewelry design, which is the subject of giving jewelry a cultural character, in order to hope for the help of the national culture. This paper probes into the auspicious connotations of jewelry that accord with the aesthetic taste and taste of modern people, and then provides a reference value for the native original design of jewelry and a creative design idea to broaden the modern jewelry. This paper first defines the connotation of auspicious meaning jewelry, and through the study of the historical development process of auspicious moral jewelry, summarizes the main three stages of its development and evolution and the change characteristics of its stages. This paper summarizes the market characteristics of auspicious symbolism jewelry, and then analyzes the traditional Chinese auspicious signification performance content, and discusses the creative ideas of combining it with jewelry design through the analysis of Chinese traditional auspicious moral performance content. Then it discusses the artistic expression of modern auspicious jewelry with concrete examples, and designs and processes it in person. Finally, it puts forward some constructive marketing ideas. The results are as follows: 1. The auspicious culture of China has a long history, and the historical development process of auspicious jewelry (focusing on the auspicious moral jewelry of the Han nationality) has mainly gone through three stages: from ancient times to the Neolithic period. The embryonic period of totem symbol belief stage; from the Xia, Shang and Zhou dynasties to the Yuan Dynasty, the formation of feudal class concept under the development period; Ming and Qing dynasties, the increasingly secularization of social arts and crafts brought prosperity. 2. The design idea of auspicious moral jewelry should not be limited to the transformation of auspicious patterns, but should be based on the traditional auspicious symbols, such as physical symbols, pattern symbols, etc. Auspicious element symbol as well as festival element symbol and so on carries on the many aspects creative thought design. 3. Emphasis should be placed on shaping the brand style of auspicious jewelry, the key to which lies in the interpretation of its product style, which is mostly through the color, pattern, material, texture, craftwork of the jewelry. Subject matter and other aspects of the comprehensive performance of consumer perception. 4. After determining a good product style, we should select appropriate auspicious moral themes according to the characteristics of each festival in modern China, and carry out the development of holiday series products. Finally, through event marketing and network marketing, Marketing methods such as advertising and publicity push products to the market.
【学位授予单位】：中国地质大学(北京)
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J526
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相关期刊论文 前2条
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本文编号：2272088
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