【摘要】： 圖形是設(shè)計(jì)作品的顯性表現(xiàn)形式，是設(shè)計(jì)作品中最敏感和倍受關(guān)注的視覺中心，，優(yōu)秀的設(shè)計(jì)作品都以自己獨(dú)特的圖形文化語(yǔ)言準(zhǔn)確而清晰地轉(zhuǎn)述著設(shè)計(jì)主題，并將設(shè)計(jì)者心靈世界和精神向往的全部情感蘊(yùn)含其中。德國(guó)當(dāng)代國(guó)際著名視覺設(shè)計(jì)大師霍爾戈·馬蒂斯曾經(jīng)這樣說：“一幅好的招貼，應(yīng)該是靠圖形語(yǔ)言說話而不是靠文字語(yǔ)言來注解的。” 多少年來藝術(shù)一直以其巨手在彈奏著以聽覺或精神美為主導(dǎo)的美的旋律。文學(xué)作為界乎于視覺與聽覺之間主導(dǎo)的語(yǔ)言藝術(shù)，在某種程度繼續(xù)承擔(dān)著彈奏這樣“節(jié)奏”的重任，艱難的捍衛(wèi)著自身的霸主地位。盡管從二十世紀(jì)初期開始擁有強(qiáng)大視覺力量的電影藝術(shù)試圖通過“文學(xué)性”、“戲劇性”和“電影性”之間的爭(zhēng)論而力圖奪取藝術(shù)的霸權(quán)地位，但卻一直未果。時(shí)至今天，隨著市場(chǎng)經(jīng)濟(jì)、消費(fèi)時(shí)代，大眾傳播媒介社會(huì)和信息技術(shù)的降臨，人們仿佛一夜之間突然發(fā)現(xiàn)自己已然置身于一個(gè)圖形的年代，即視覺圖形所主導(dǎo)的藝術(shù)年代。撲面而來的充滿誘惑力的電視、電影畫面、琳瑯滿目的時(shí)新商品的包裝、五彩繽紛的商業(yè)廣告、富于文化內(nèi)含的招貼、精確逼真的電腦圖形、令人暈眩而取之不盡的國(guó)際互聯(lián)網(wǎng)等等，都在展示著視覺圖形語(yǔ)言的無所不在的神奇力量。 面對(duì)視覺圖形語(yǔ)言的狂轟濫炸，作為視覺圖形語(yǔ)言始作俑者的設(shè)計(jì)師和藝術(shù)設(shè)計(jì)的教育工作者，我們似乎更應(yīng)該冷靜考慮到圖形設(shè)計(jì)語(yǔ)言所涉及的文化領(lǐng)域，包括物質(zhì)領(lǐng)域、精神領(lǐng)域以及由此引發(fā)的生活問題，對(duì)國(guó)家、民族、文化的發(fā)展問題。我們迫切需要通過研究世界平面設(shè)計(jì)文化的前沿思想以及本土設(shè)計(jì)文化的動(dòng)態(tài)，堅(jiān)持東西方設(shè)計(jì)文化的沖撞、磨合、融合，尋求包括傳統(tǒng)設(shè)計(jì)學(xué)在內(nèi)的多種學(xué)科的文化介入，才能在跨文化的比較中找到自己的定位， 武漢理工大學(xué)碩士學(xué)位論文 在自主的文化語(yǔ)境中產(chǎn)生屬于我們這個(gè)時(shí)代的優(yōu)秀視覺圖形作品。 本文試圖通過視覺傳播設(shè)計(jì)的重要表現(xiàn)形式—圖形語(yǔ)言的歷 史和發(fā)展現(xiàn)狀進(jìn)行分析和比較研究，通過“文化”及“設(shè)計(jì)與文化”的剖 析，引證歐美、日本等國(guó)的圖形藝術(shù)設(shè)計(jì)與民族文化之間的關(guān)系， 以及分析當(dāng)今中國(guó)視覺傳播設(shè)計(jì)發(fā)展的不足，表述這樣一個(gè)觀念: 任何藝術(shù)語(yǔ)言都必須具備自身的特點(diǎn)，中國(guó)視覺傳播設(shè)計(jì)，尤其是 圖形藝術(shù)語(yǔ)言的發(fā)展必須在全球化的文化背景下努力挖掘本民族的 傳統(tǒng)文化精髓，并將之與時(shí)代的審美特性融為一體才能建立屬于自 身而與時(shí)俱進(jìn)的圖形語(yǔ)言形式和設(shè)計(jì)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.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：J504

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 楊麗紅;;圖形與現(xiàn)代園林藝術(shù)設(shè)計(jì)的關(guān)系研究[J];中國(guó)科教創(chuàng)新導(dǎo)刊;2013年10期

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