巴渝民间美术符号在旅游纪念品设计中的应用研究
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摘要
目的探究巴渝民间美术符号在旅游纪念品设计中的应用,丰富巴渝旅游纪念品的文化内涵和造型语言,设计体现当代重庆精神气质的旅游纪念品。方法通过对巴渝民间美术符号的解读,分析其独有的特征及其在旅游纪念品设计中的应用价值;结合当前巴渝旅游纪念品的设计现状,综合具体的案例设计,提出解构巴渝民间美术符号的意象造型特征,并转化为旅游纪念品设计中的具体应用策略。结论应用巴渝民间美术符号独有特征体系进行现代设计转换,有利于打造具有重庆地域文化特色的旅游纪念品,展现重庆的旅游文化形象,扩大重庆文化的影响力,进而提升重庆在国内和国际的知名度。同时,两者融合能丰富当代设计的文化内涵,拓展现代的设计思维,对设计具有民族特色的艺术作品具有重要意义。
The paper aims to explore the application of folk art symbols in design of tourism souvenirs, enrich the cultural connotation and modeling language of tourism souvenirs in Bayu, so as to design tourism souvenirs embodying the spirit of contemporary Chongqing. Through the interpretation of the folk art symbols in Bayu, this paper analyzed their unique characteristics and their application value in the design of tourist souvenirs, combined the current design situation of tourist souvenirs in Bayu, and synthesized the specific case design, put forward the specific application strategies of deconstructing the image modeling characteristics of folk art symbols in Bayu, and transformed them into the design of tourist souvenirs. Using the unique characteristic system of folk art symbols in Bayu to carry out modern design transformation is conducive to creating tourism souvenirs with Chongqing's regional cultural characteristics, displaying Chongqing's tourism cultural image, expanding the influence of Chongqing's culture, and further enhancing Chongqing's domestic and international popularity. At the same time, the integration of the two can enrich the cultural connotation of contemporary design and expand modern design thinking, which is of great significance to the design of works of art with national characteristics.
The paper aims to explore the application of folk art symbols in design of tourism souvenirs, enrich the cultural connotation and modeling language of tourism souvenirs in Bayu, so as to design tourism souvenirs embodying the spirit of contemporary Chongqing. Through the interpretation of the folk art symbols in Bayu, this paper analyzed their unique characteristics and their application value in the design of tourist souvenirs, combined the current design situation of tourist souvenirs in Bayu, and synthesized the specific case design, put forward the specific application strategies of deconstructing the image modeling characteristics of folk art symbols in Bayu, and transformed them into the design of tourist souvenirs. Using the unique characteristic system of folk art symbols in Bayu to carry out modern design transformation is conducive to creating tourism souvenirs with Chongqing's regional cultural characteristics, displaying Chongqing's tourism cultural image, expanding the influence of Chongqing's culture, and further enhancing Chongqing's domestic and international popularity. At the same time, the integration of the two can enrich the cultural connotation of contemporary design and expand modern design thinking, which is of great significance to the design of works of art with national characteristics.
引文
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[10]张绍时.中西意向特征比较论[J].青岛师范大学学报,2017(7):128-130.ZHANG Shao-shi.A Comparative Study of Intentional Characteristics between China and the West[J].Journal of Qingdao Normal University,2017(7):128-130.
[11]王懿清,晏娜.经典动画形象孙悟空符号的生成和解读[J].装饰,2014(30):109-111.WANG Yi-qing,YAN Na.Generation and Interpretation of Monkey King Symbol in Classical Animation Image[J].Zhuangshi,2014(30):109-111.
[2]苗红磊.中国民间美术文化符号特征初探[J].美术观察,2014(6):123-124.MIAO Hong-lei.A Preliminary Study on the Symbolic Characteristics of Chinese Folk Art Culture[J].Art Observation,2014(6):123-124.
[3]王小明.民间美术的模式化特征[D].天津:天津大学,2013.WANG Xiao-ming.The Motifs of Chinese Folk Art[D]Tianjin:Tianjin University,2013.
[4]王树村.中国民间美术史[M].岭南:岭南美术出版社,2004.WANG Shu-cun.History of Chinese Folk Art[M]Lingnan:Lingnan Art Publishing House,2004.
[5]王象尧.中国民间美术造型方法在平面设计中的运用分析[J].艺术百家,2016(5):128-130.WANG Xiang-yao.Analysis of the Application of Chinese Folk Art Modeling Method in Graphic Design[J]Art Hundred,2016(5):128-130.
[6]李文杰.民间艺术在城市旅游视觉识别系统设计中的应用研究[J].文艺争鸣,2014(9):198-201.LI Wen-jie.Application of Folk Art in Visual Recognition System Design of Urban Tourism[J].Literary Contention,2014(9):198-201.
[7]刘畅,黄墙苓.论旅游纪念品设计与川西民族文化保护[J].包装工程,2010,31(4):129-132.LIU Chang,HUANG Qiang-ling.On the Design of Tourist Souvenirs and the Protection of Ethnic Culture in Western Sichuan[J].Packaging Engineering,201031(4):129-132.
[8]邱蔚丽,邱赤炼.旅游纪念品设计中传统地域文化元素的意义[J].包装工程,2012,33(9):109-112.QIU Wei-li,QIU Chi-lian.The Meaning of Regional Culture Elements in Souvenir Design[J].Packaging Engineering,2012,33(9):109-112.
[9]周子炜,彭磊.“一带一路”背景下赣南旅游纪念品设计研究[J].包装工程,2017,38(9):230-234.ZHOU Zi-wei,PENG Lei.Study on the Design of Tourism Souvenirs in Gannan under the Background of"One Belt and One Road"[J].Packaging Engineering,2017,38(9):230-234.
[10]张绍时.中西意向特征比较论[J].青岛师范大学学报,2017(7):128-130.ZHANG Shao-shi.A Comparative Study of Intentional Characteristics between China and the West[J].Journal of Qingdao Normal University,2017(7):128-130.
[11]王懿清,晏娜.经典动画形象孙悟空符号的生成和解读[J].装饰,2014(30):109-111.WANG Yi-qing,YAN Na.Generation and Interpretation of Monkey King Symbol in Classical Animation Image[J].Zhuangshi,2014(30):109-111.