图形传播中的文化介入
发布时间：2018-11-12 10:19
【摘要】： 图形是设计作品的显性表现形式，是设计作品中最敏感和倍受关注的视觉中心，，优秀的设计作品都以自己独特的图形文化语言准确而清晰地转述着设计主题，并将设计者心灵世界和精神向往的全部情感蕴含其中。德国当代国际著名视觉设计大师霍尔戈·马蒂斯曾经这样说：“一幅好的招贴，应该是靠图形语言说话而不是靠文字语言来注解的。” 多少年来艺术一直以其巨手在弹奏着以听觉或精神美为主导的美的旋律。文学作为界乎于视觉与听觉之间主导的语言艺术，在某种程度继续承担着弹奏这样“节奏”的重任，艰难的捍卫着自身的霸主地位。尽管从二十世纪初期开始拥有强大视觉力量的电影艺术试图通过“文学性”、“戏剧性”和“电影性”之间的争论而力图夺取艺术的霸权地位，但却一直未果。时至今天，随着市场经济、消费时代，大众传播媒介社会和信息技术的降临，人们仿佛一夜之间突然发现自己已然置身于一个图形的年代，即视觉图形所主导的艺术年代。扑面而来的充满诱惑力的电视、电影画面、琳琅满目的时新商品的包装、五彩缤纷的商业广告、富于文化内含的招贴、精确逼真的电脑图形、令人晕眩而取之不尽的国际互联网等等，都在展示着视觉图形语言的无所不在的神奇力量。 面对视觉图形语言的狂轰滥炸，作为视觉图形语言始作俑者的设计师和艺术设计的教育工作者，我们似乎更应该冷静考虑到图形设计语言所涉及的文化领域，包括物质领域、精神领域以及由此引发的生活问题，对国家、民族、文化的发展问题。我们迫切需要通过研究世界平面设计文化的前沿思想以及本土设计文化的动态，坚持东西方设计文化的冲撞、磨合、融合，寻求包括传统设计学在内的多种学科的文化介入，才能在跨文化的比较中找到自己的定位， 武汉理工大学硕士学位论文 在自主的文化语境中产生属于我们这个时代的优秀视觉图形作品。 本文试图通过视觉传播设计的重要表现形式—图形语言的历 史和发展现状进行分析和比较研究，通过“文化”及“设计与文化”的剖 析，引证欧美、日本等国的图形艺术设计与民族文化之间的关系， 以及分析当今中国视觉传播设计发展的不足，表述这样一个观念: 任何艺术语言都必须具备自身的特点，中国视觉传播设计，尤其是 图形艺术语言的发展必须在全球化的文化背景下努力挖掘本民族的 传统文化精髓，并将之与时代的审美特性融为一体才能建立属于自 身而与时俱进的图形语言形式和设计的民族特色。
[Abstract]:Graphics is the dominant form of design works and the most sensitive and concerned visual center in design works. Excellent design works accurately and clearly report the design theme with their own unique graphic culture language. And the designer's mind world and spiritual yearning for all the emotions contained therein. Holgo Matisse, a famous contemporary international visual designer in Germany, once said, "A good poster should be annotated by graphic language rather than text language." For many years art has been playing the melody of beauty dominated by hearing or spiritual beauty with its giant hands. Literature, as a language art dominated by vision and hearing, continues to play such "rhythm" to some extent and struggles to defend its hegemonic position. Although the film art, which has strong visual power since the beginning of the twentieth century, tried to seize the hegemony of art through the controversy between "literariness", "drama" and "film sex", it has never been successful. Nowadays, with the advent of market economy, consumption era, mass media society and information technology, people suddenly find themselves in a graphic age, which is the art age dominated by visual graphics. Attractive TV, movie pictures, colorful commercial advertisements, rich in cultural posters, accurate and realistic computer graphics, The dizzying and inexhaustible Internet is showcasing the omnipresent power of visual graphic language. In the face of the indiscriminate bombing of visual graphic language, as the designer of visual graphic language and the educator of art design, it seems that we should consider calmly the cultural field involved in graphic design language, including the material field. Spiritual field and the resulting problems of life, to the development of the country, nation, culture. We urgently need to study the frontiers of graphic design culture in the world and the dynamics of local design culture, insist on the collision, integration and integration of eastern and western design cultures, and seek the cultural intervention of various disciplines, including traditional design. In order to find their own position in cross-cultural comparison, The master thesis of Wuhan University of Science and Technology produces excellent visual graphics works of our time in the independent cultural context. This paper attempts to analyze and compare the history and development of graphic language, an important form of visual communication design. Through the analysis of "culture" and "design and culture", the paper points out the relationship between graphic art design and national culture in Europe, America, Japan and other countries. And to analyze the shortcomings of the development of visual communication design in China today, to express the idea that any artistic language must have its own characteristics, that is, the design of visual communication in China, In particular, the development of graphic art language must make great efforts to excavate the essence of the traditional culture of this nation under the cultural background of globalization. Only by merging it with the aesthetic characteristics of the times can we establish the national features of the graphic language and design that belong to our own and keep pace with the times.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：J504
本文编号：2326827
[Abstract]:Graphics is the dominant form of design works and the most sensitive and concerned visual center in design works. Excellent design works accurately and clearly report the design theme with their own unique graphic culture language. And the designer's mind world and spiritual yearning for all the emotions contained therein. Holgo Matisse, a famous contemporary international visual designer in Germany, once said, "A good poster should be annotated by graphic language rather than text language." For many years art has been playing the melody of beauty dominated by hearing or spiritual beauty with its giant hands. Literature, as a language art dominated by vision and hearing, continues to play such "rhythm" to some extent and struggles to defend its hegemonic position. Although the film art, which has strong visual power since the beginning of the twentieth century, tried to seize the hegemony of art through the controversy between "literariness", "drama" and "film sex", it has never been successful. Nowadays, with the advent of market economy, consumption era, mass media society and information technology, people suddenly find themselves in a graphic age, which is the art age dominated by visual graphics. Attractive TV, movie pictures, colorful commercial advertisements, rich in cultural posters, accurate and realistic computer graphics, The dizzying and inexhaustible Internet is showcasing the omnipresent power of visual graphic language. In the face of the indiscriminate bombing of visual graphic language, as the designer of visual graphic language and the educator of art design, it seems that we should consider calmly the cultural field involved in graphic design language, including the material field. Spiritual field and the resulting problems of life, to the development of the country, nation, culture. We urgently need to study the frontiers of graphic design culture in the world and the dynamics of local design culture, insist on the collision, integration and integration of eastern and western design cultures, and seek the cultural intervention of various disciplines, including traditional design. In order to find their own position in cross-cultural comparison, The master thesis of Wuhan University of Science and Technology produces excellent visual graphics works of our time in the independent cultural context. This paper attempts to analyze and compare the history and development of graphic language, an important form of visual communication design. Through the analysis of "culture" and "design and culture", the paper points out the relationship between graphic art design and national culture in Europe, America, Japan and other countries. And to analyze the shortcomings of the development of visual communication design in China today, to express the idea that any artistic language must have its own characteristics, that is, the design of visual communication in China, In particular, the development of graphic art language must make great efforts to excavate the essence of the traditional culture of this nation under the cultural background of globalization. Only by merging it with the aesthetic characteristics of the times can we establish the national features of the graphic language and design that belong to our own and keep pace with the times.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：J504
【引证文献】
相关期刊论文 前1条
1 杨丽红;;图形与现代园林艺术设计的关系研究[J];中国科教创新导刊;2013年10期
本文编号：2326827
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