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探索章法书法章法之于现代文字设计作用的

发布时间: 2008-5-27


预读:ed to see the differences between the East and West; and to demopsh some kind of absolute opposition between the East and West. By studying the issues from practicapty and finding out the truth out of originapty, by searching on the concept gene of calpgraphic Pinyin of the East and Western typograp探索章法书法章法之于现代文字设计作用的
论文中文摘要:中国汉字文字设计拥有汉字基因和书法传统。本论文将以传统书法章法对现代文字设计启迪的角度来探讨当代文字设计的可能性,首次将文字置于以“手写”到“印刷”的历史纵向、以“实践”到“审美”的当代横向这双重意识维度上深思汉字文字设计的创造基点。本论文第二章对当下图像传播、数字阅读等社会现实进行浅析,提出对书法艺术传播方式不足的关注,第三章以内在结构、直觉形式、意象思维、理性信息的角度来浅析章法作为汉字文本叙事方式的重要量,这也是中国书法文字艺术形式独特的内在逻辑性,由此加深对书法章法的理解。第四章是对西方文字设计历史观念和进展的轨迹进行的探讨,了解西方文字交流设计的历史与文化,以及拉丁文字视觉语言组织的原则和策略,并将其与中国书法形式相比较。本论文第五章对大量中国书法材料中有突出章法特点的作品进行美学归类、总结和浅析,认识书法艺术品质要求下章法面貌的“诗性表达”多样性,把书法艺术作品与东西方优秀文字设计作品加以对照,更深层地剖析文字艺术形式的共同原理和策略。对当下和历史中的文字形式互相参照将对现实设计实践产生实质性的指导作用,这是本论文主要部分和主要内容。通过此章我们将浅析,当下信息时代的技术解放和社会开放的多元性特点使得现代文字设计指标——以“功能”趋向了“情感”而“直觉”又兼容了“理性”,这一切都将在生活和生产的个性化背景下、在文字交流美学的框架内发生文化转向。通过上面陈述的探讨本人认为,章法不仅仅是书法艺术形式的结果,同时也是创造的历程。章法作为书法的图像叙事方式;强调“意在笔先”;章法作为书法的诗意艺术形式,强调“惟观神采”、“情调纸上”;章法具有自然的态度,强调“无意为佳”;章法具有文字的诗性审美,强调“妙在心悟”。章法作为文字视觉语言组织的策略论,与西方现代文字设计的“理性和实用”的设计策略和观念相比,书法章法更强调“神”和“情”传达。突出设计的“诗性”与设计的“理性”和“实用”并不相悖。借鉴西方设计曲折进展历史经验,书法“和而不同”的哲学同时启发我们保持和谐的设计观。把书法章法意识回归到当代文字设计之中,是对我们自身文化传统的再发现,也是设计师对文化历史延续性要求的回应,以世界范围来看这已不仅仅是一个文化不足。

【English Abstract】 Contemporary visual design and its aesthetics are unable to be expressed out without characters being artistically written. Chinese typography design is based upon the gene of typography and its calpgraphic traditionally. This paper is intended to study all possibipties relating to contemporary typography design from the perspective and reference of ZhangFa of traditional calpgraphy upon modern typography design. It is the first time that the basis of creativity in relation to typography design has been studied upon a dual perspective, that is, a historical and pnear one from "handwriting" to "printing" and a contemporary and horizontal one from "practicing" and "assessing aesthetics".First, this paper is intended to raise questions based upon such reapstic issues as graphic design and e-reading in a contemporary culture. Typography is a reapstic and popular media in pfe. The highpght of those issues such as "variety" and "quapty" of typography in an artistic form is just a discovery of design issues in typography. What is followed is to analysise Pinyin as a typographic image method of narrative from the perspectives of inner structure, instinctive form, free idea ways of thinking, science and logics, thus to see the capabipty of our interpretation upon the calpgraphic ZhangFa into the level of gene; and to analysise the development and concept of the Western typography design enabpng us to clarify a history of typography communication design in a broader sense and the understanding of typography, in the meanwhile, some new materials in this paper has revealed exchanges between Eastern and Western typography, helped to see the differences between the East and West; and to demopsh some kind of absolute opposition between the East and West. By studying the issues from practicapty and finding out the truth out of originapty, by searching on the concept gene of calpgraphic Pinyin of the East and Western typography design, this paper might lead the typography design concept to a more original, more popular meaning.By making aesthetic analysis upon those ZhangFa masterpieces in the Chinese history of calpgraphy, by making comparable analysis upon excellent work of typography design in the East and West, by anatomy to learn about the quantitative outlooks and artistic essence of ZhangFa, interpretation upon expression of "free-idea" and "being poetic" is the origin of the art of calpgraphic ZhangFa, enabpng us to learn much more about design principles and methods. However, a reference between history and

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