浙江地区商周至明清时期的青铜文化流变规律

陈晓雨 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.14 No.-

将青铜器的出现作为人类历史文化发展的一个阶段是考古学上经常用到的一个标准,我们将其称为青铜时代或青铜器时代。在世界文化宝库中,中国青铜文化以其历史悠久、技术精湛、工艺娴熟等特点占有不可或缺的一部分。“国之大事,在祀与戎” ,中国古代青铜器的重要性既体现在国家王权与祭祀中,也体现在战争的国家机器中。青铜器最初主要用于农业生产、宗庙祭祀和战争中,涵盖了炊器、礼器、兵器和造像等领域。中国青铜文化无论在使用规模,还是在工艺造型上,都充分展示了中国奴隶制社会文明的科技文化水平。铜艺的发展一边随着历史脚步的不断传承、创新,另一边在铜材料工艺的技术范畴中不断探索和革新,使其在我国工艺美术史上留下了浓墨重彩的一笔。铜艺的发展历史历经了多个时期,概括地来说,大致分为以下三个时期:一、商周至春秋战国时期是铜艺的鼎盛阶段,这个阶段的铜艺主要代表当时体现社会等级的“礼器”;二、汉唐时期是铜艺的过度、成熟时期,在这个阶段工艺技术除了锻錾工艺,花丝、焊接、镂空、镶嵌等技术都相继成熟;三、明清时期是铜艺技艺与美学结合的完美的时期,在传承与发展了原有工艺的基础上,发明了点翠、烧蓝、掐丝珐琅等工艺。随着时代的发展,铜艺也在不断适应社会的需求进行创新发展。 本文通过大量数据整合将浙江铜文化的起源、发展以时间轴作为脉络,梳理浙江地区铜文化的发展,目的通过了解该地区铜文化的发展情况,了解越文化的影响下浙江青铜器在造型与纹样方面的变化,发掘不同时期的观铜思想与美学思想,对浙江青铜器在中国历史变迁的环境背景下由专权到共情的情感转变做自己粗浅的看法,以便为研究该地区铜文化的学者们提供学习资料。 청동기가 나타난 것은 인류 역사 문화 발전에 있어 중요한 단계다. 고고학에서도 이를 기준으로 삼고 있다. 이 시기는 청동 시기 또는 청동기 시기라고 불린다. 세계 문화 보물창고에 중국의 청동 문화는 역사 깊고 기술 뛰어나고 공예 탁월한 특징으로 한 자리를 차지 하고 있다. ‘국지대사, 재사여융’ 이라는 말처럼 중국 고대 청동기의 중요성은 국가 권리 및 제사에서 나타난 것뿐만 아니라 전쟁 시 국가의 무기 활용에도 잘 보여 주고 있다. 초기에 청동기는 농업 생산, 종묘제사와 전쟁 중에만 사용되었고 취사도기, 제사용기, 군사 무기 및 조상 등 분야에 활용되었다. 중국 청동기 문화는 사용 규모는 물론이고 공예 외형에도 중국 노예제도 사회의 과학 기술력을 입증해주는 증거다. 동 공예의 발전은 한편으로 역사 문화 발전에 따라 계승 및 창조에 이어가고 있고 다른 한 편으로는 동 재료 공예 기술 발전에 의하여 많은 탐색과 혁신을 겪고 왔다. 이는 또한 중국 공예미술 역사 상 중요한 일환으로 빚나고 있다. 동 공예 발전은 길고 긴 역사를 걸쳐왔고 대략적으로 요략하면 총 3개 시기로 나눌 수 있다. 첫째 상주에서 춘추전국까지는 동 공예의 흥성 단계다. 이 시기의 동 공예는 주로 당시 사회 계급을 대표하는 제사 용기가 있다. 둘째 한나라, 당나라는 동 공예의 과도기, 성숙기다. 동 공예 기술 중에 중요한 단참공예 이외에, 화사、용접、루공、상감 등 기술도 갈수록 좋아졌다. 셋째는 명나라, 청나라 시기에는 동 공예 기술과 미학 결합한 시기이다. 기존 기술을 계승과 발전 시키는 동시에 점취, 소람, 염사법랑 등 공예 수법을 창조하였다. 시대 발전되면서 동 공예도 사회 수요에 따라 많은 변화를 겪었다. 본 연구는 대량의 데이터를 정리하여 절강 지역 동 문화의 기원과 발전의 시간 흐름에 따라 해당 지역의 동 문화의 발전을 살펴 보았다. 본 연구의 목적은 절강 지역의 동 문화의 발전 현황을 파악하고 월(越) 문화의 영향을 받은 청동기는 조형과 무늬의 변화를 조사하며 시기별 동에 대한 인식과 미학을 대표한 사상을 도출하고자 한다. 이를 바탕으로 중국 역사 발전 속에 절강 지역의 청동기는 권리 상징인 전용 물건에서 대중화된 과정에서 시대별 사람들이 청동기에 대한 감정 변화에 대한 개인 생각을 정리하여 향후 해당 지역 동 공예 연구자에게 참고할 만한 자료가 되었으면 하는 바람이다.

基于语料库的美国媒体报道台湾问题的批判性话语分析

吴琼 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.15 No.-

This research is a corpus-based critical discourse analysis of the U.S. news reporting on the Taiwan issues, with the objects as follows: 1) to explore the prospect of the application of Corpus Linguistics into CDA; 2) to analyze the underlying ideological meanings of the Taiwan issues in different American media; 3) to demonstrate the dialectical relationship between discourse and ideology as proved by this issue. From a critical perspective, this paper analyzes online news discourse in terms of Taiwan issues in three U.S. news websites. All the works the author offered in this paper are concerning on two questions: 1) What ideological meanings can be identified in the application of linguistic strategies? 2) Is there a stereotyped discourse model featuring the political news reports regarding the Taiwan issues in the American news websites? If there is, what are the common characteristics? If there is not, what characteristics displayed respectively? In this paper, the author follows the guideline of building three mini-corpora with the data extracted from three U.S. online news texts on the Taiwan issues during a certain period of time. It should be noted that the chosen texts need to be ensured as clean texts. Considering the integrity, reputation, the public influence of the news agency, and the depth and breadth of their coverage of the issue, the author chooses the time span as 2020 to March, 2021. And the three official websites are: http://edition.cnn.com/ -- CNN; http://www.nytimes.com/ -- NYT; http://www.washingtonpost.com/ -- WPC. With regard of the news reporting foci and density, the author extracts the texts in terms of politics on Taiwan issues rather than selecting all the news texts. As it raises the problem that the raw corpora are not suitable for analysis, the corpus tool Gotagger will be applied to tag the data. The tagged data will be put separately for various investigating objects. And the Oxford WordSmith Tool V4 will be applied to generate the keyword list and extract the concordance lines for analysis. From the foregoing investigation, it is clearly that CL can help the CDA in many aspects. Of course, there are many points of its role left for further analysis. It opens a door for linguistic researchers to apply CL into CDA. Firstly, the key wordlists and the concordance lines of specific search words give a good starting point for thematic analysis. It can be seen that a complete lexical and semantic network is summarized by this means. Secondly, taking the corpus-based approach with the help of functional grammar can form a better semantic analytical model – word driven pattern – to consider chunks and sentences as the analytical units, and then the paragraphs or even the whole text as reference contexts. Once taken this method, it is much easier to carry on the quantitative and qualitative, macro- and micro-level analysis simultaneously. Among different U.S. news websites, there is not a consistent discourse model on the Taiwan issues. Indeed, the three American news agencies have their own characteristics: CNN enjoys the most heterogeneous lexical choices for conveying the ideological meanings; and it likes to express the interpersonal meanings. While NYT and WPC tend to be more homogeneous in lexical choices, and their reporting tones are more neutral as well. In addition, more speaking rights are given to various distinguishing communities and groups for constructing interpersonal meanings. All in all, with the help of different linguistic devices, CDA gains a site for power struggle among different governments, parties, and communities concerns. Thus the dialectical relationship between language and ideology can be preserved.

探究多元化互动影院对中国三维动画业的影响

彭红璐 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.15 No.-

多元化互动影院是在传统影院的基础上进一步发展的产物,传统影院只是单纯在视和听觉上吸引一些观众,但是这样的体验已经远远满足不了现在人们对视听、感官上的享受。多元化互动影院更多地考虑到观众的各项感受,更能身临其境地感受电影中的一些情节体现,例如:真实的雾气、下雨或者刮风;电影中一些片段出现山崩地裂的情景,随即观众的凳子也会出现相应的一些震感;部分电影情节中会由一个虚拟主人公带领观众模拟电影情节中出现的一些片段,主人公会有些独白类似在与观众进行交流等等。如今的三维动画在表现形式上诞生了一种全新的形态,即多元化互动影院。因而巧妙地根据影片内容需求,运用现代技术在观影过程中呈现出云雾雨雪及电光、气泡或味道,以此模仿电影环境,增强观影浸入感,使观众经历听觉、嗅觉、触觉、视觉多重逼真体验,这便是4D影院。5D影院则是在4D影院的基础上,将以往的气动设备升级成更为先进的液压设备 ,并且通过别树一帜的场内装饰、先进的三维动画技术,实现观众与银幕虚拟角色的实时互动等。本文以多元化互动影院与三维动画相辅相成的关系为研究对象,通过文献研究法、案例分析法等方法,将所查阅到的文献和各国多元化互动影院中优秀的三维动画作品进行理论研究,以及在多元化互动影院中产生的技术问题和笔者本人在体验感受视听和探究技术等方面进行整理和分析。从多元化互动影院发展现状入手,对三维动画在其中的表现方式研究展开说明,欣赏其独特魅力,最后落点在中国三维动画在多元化互动影院中的传承和发扬上,总结得出多元化互动影院中的中国三维动画传统元素的创新及应用,希望能带给现当代中国三维动画产业一些启发。 Diversified interactive cinema is the product of further development on traditional cinema which purely attracts audiences in vision and sound; however, this experience can no longer satisfy the enjoy for audio visual and sense. Diversified interactive cinema takes into consideration various feelings of audience so that they can feel some scenes by immersion, such as the true mist, rain or wind. There are some scenes of landslide in the episodes of some movies, which can also be felt by audiences as well. In some film scenes, there is a virtual hero that leads the audiences to imitate the plots in the film and there will be some monologue of the hero to communicate with the audiences. There is a new form in the presentation of three-dimensional animation, namely the diversified interactive cinema. Therefore, by applying modern technology to present cloud, mist, rain, snow and lights, bulbs or taste based on the requirements of the films so as to imitate the film environment, increase film-watching immersion and make audiences have multiple realistic experience in hearing, smells, touching and vision, this is 4D cinema. On the basis of 4D cinema, 5D cinema upgrades the previous pneumatic equipment into more advanced hydraulic installation so as to realize the real-time interaction between audiences and virtual roles on the screen by unique indoor decoration and advanced three-dimensional animation technology. This article takes the complementary relationship between diversified interactive theaters and 3D animation as the research object. Through literature research methods, case analysis methods, etc., the literature reviewed and excellent 3D animation works in diversified interactive theaters in various countries are studied theoretically, and The technical problems generated in the diversified interactive cinema and the author's experience in audiovisual and exploration technology are sorted out and analyzed. Starting from the development status of diversified interactive cinema, we will start to explain the way of expression of 3D animation in it, appreciate its unique charm, and finally focus on the inheritance and development of Chinese 3D animation in the diversified interactive cinema, and conclude that it is diversified. The innovation and application of the traditional elements of Chinese 3D animation in interactive theaters hope to bring some inspiration to the modern and contemporary Chinese 3D animation industry.

浙江省青田县龙津公园植物应用现状调查与问题分析

梁金子,刘明媛 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.15 No.-

Plants are crucial elements in the layout and design of outdoor environments. Longjin Park is an important part of the European style project in the urban green space planning framework of Qingtian County, Zhejiang Province. In terms of plant species, plant characteristics, plant collocation and other aspects, Longjin Park occupies a higher level of county greening. Therefore, taking Longjin Park as an example to analyze the application of plants has certain representativeness. In the introduction part of this paper, the background of this research is first proposed, and the direction of this research is drawn up through the analysis of the previous research. This study takes Longjin Park in Qingtian County, Lishui City, Zhejiang Province as the object. Through the methods of literature reading and field research, the second part discusses the status quo of the combination of plants and other garden elements in the park, the space types formed by plants and the configuration of plants. In terms of the collocation of plant and landscape present situation, the collocation of plant and construction is discussed, the collocation of plants and garden road, the collocation of plant and seat, the collocation of plant and sculpture, the collocation of plant and stone pillars, the collocation of plant and, wrought iron baluster, flower and so on the status quo, analysis of longjin park plant collocation of rationality and irrationality status; In the part of the space formed by plants, the rationality and irrationality of the space application of plants in Longjin Park are discussed through the status quo of open space, half-open space, covered space, completely closed space and vertical space. In the aspect of plant disposition in Longjin Park, the rationality and irrationality of plant disposition in Longjin Park were discussed through the analysis of plant species and present situation of plant disposition. The third part points out the existing problems of vegetation conservation and management, plant configuration design, some old green space style, facilities style is not unified and so on, and puts forward the corresponding solutions. The fourth part is the conclusion part. Longjin Park tries its best to develop into multi-dimensional direction in the limited space, such as expanding three-dimensional space and planting scented plants. The greening effect is good. To improve further, we should be flexible in the use of different plant species and different planting forms by highlighting indigenous species, distinctive or new garden plants. In this study, the status quo and problems of plant application in Longjin Park in Qingtian County, Zhejiang Province were investigated and analyzed, and solutions were proposed to provide reference for relevant policies of management and planning department of Qingtian County, as well as operational reference for garden workers and garden designers. 植物在室外环境的布局和设计中是至关重要的素材。龙津公园是浙江省青田县城市绿地规划框架中欧陆风情项目的重要组成部分,在植物种类、植物特色、植物搭配等层面均居于县城绿化较高水平,因此以龙津公园为例分析植物的应用具有一定的代表性。本论文在绪论部分首先提出本研究的背景,并通过先行研究的分析,拟定本研究的方向。本研究以浙江省丽水市青田县龙津公园为对象,通过阅读文献、实地调研的方法,第二部分从公园中植物与其他园林要素的搭配、植物形成的空间类型、植物的配置等现状方面展开讨论。在植物与园林要素的搭配现状方面,讨论了植物与建筑的搭配、植物与园路的搭配、植物与座椅的搭配、植物与雕塑的搭配、植物与石柱的搭配、植物与铁艺栏杆花架的搭配等现状,分析龙津公园植物的搭配的合理性和不合理性现状;在植物形成的空间部分,通过开敞空间、半开敞空间、覆盖空间、完全封闭空间、垂直空间几个方面的现状,论述了龙津公园植物的空间应用的合理性与不合理性;在龙津公园的植物的配置方面,通过植物配置的种类和植物配置的现状分析,探讨了龙津公园的植物配置的合理性与不合理性。第三部分提出存在植被养护管理、植物配置设计、部分绿地风格老旧、设施风格不统一等问题,并提出相应解决办法。第四部分是结语部分,龙津公园在有限的空间内尽力向多维方向发展如扩展立体空间、种植散发香味的植物等,绿化效果较好。若想进一步提升,应该在突出本土优势的树种、特色的或者新优的园林植物、灵活地运用不同的植物种类和不同的种植形式。本研究通过对浙江省青田县龙津公园植物应用现状调查及问题分析,并提出解决方法,为青田县管理与规划部门相关政策提供参考,同时也为园林工作和园林设计人员提供可操作借鉴。

基于中国适老文化的住宅建筑设计研究—以湖南科技大学“实训基地”的建筑学课程设计为例

黄靖淇,姜力,李晓娜 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.15 No.-

现阶段,中国已经迈入全面人口老龄化社会,中国人口结构中的重要组成部分即为老年人这一特殊的社会群体,养老市场的需求不断增长且日益复杂,基于对老龄化社会现状和当前我国养老模式的研究,提出生态田园养老是一种可以满足当下养老服务市场经济须要的新型健康养老模式,它也是伴随着养老市场多元化发展而形成的。适老住宅是中国社会养老服务体系中居家养老的重要组成部分。由于中国未富先老、快速老龄化的基本国情,90%的老年人在通过家庭照顾养老。适老住宅不仅要有适老化的设计,同时也要提供生活照料、精神慰藉等形式进行实现。中国现有的建筑学专业设计基础课程的教学,长期呈现为一种简单化、技术性、统一式的格局。这种缺乏实验、概念的建筑设计过程,使学生在课程设计的学习时缺少了对原创性空间和探索经验形成的客观条件。它忽略了提倡探索性、实验性、概念性、可能性所能带来的素质提高与创造力的培养价值。我们结合株洲美丽乡村健康养老住宅设计竞赛出发从而探究适合高校“实训基地”的建筑学课程设计教学改革策略。建筑学专业的课程设计应“学以致用”。在对相关的现有适老社区及住宅建筑进行深入考察调研的基础上,我们更多地从宏观的视角审视了中国当前养老产业的发展现状,同时结合中国现有的养老服务形式和模式,进行本土化的地域化的研究分析和建筑设计。 At present, China has already entered an aging population society in an all-round way, an important part of China's population structure is a special social group, for the elderly pension market demand growing and increasingly complex, based on an aging society present situation and the current endowment patterns of research in China, puts forward the ecological rural endowment is a kind of can satisfy the present pension services market need new endowment mode, it is also associated with pension market diversification development. Aged housing is an important part of home care in China's three major social pension service systems. It is in line with China's basic national conditions of getting old before getting rich and rapidly aging. 90% of the elderly are assisted by family care in socialized services. Aged housing should not only have suitable design for aging, but also provide life care, spiritual comfort and other forms of service. The teaching of basic course design for architecture speciality has been simplified, technical and unified for a long time. This course process, which lacks experiment and concept, makes learning activities lack of space to obtain originality and objective conditions for the formation of exploration experience. It greatly ignores the value of promoting exploratory, experimental, conceptual, unsolved and possible qualities and creativity. Based on the Zhuzhou Beautiful Village Healthy Elderly Housing Design Competition, we explore the teaching reform strategy of architecture course design suitable for the "practical training base" of colleges and universities. The course design of architecture major should "Practice what you learn". On the basis of in-depth investigation and investigation of relevant existing old-age suitable communities and residential buildings, we examine the current development status of China's pension industry from a macro perspective. Meanwhile, we combine the existing forms and models of China's pension service to conduct localized regional research analysis and architectural design.

山西纸型刻版中的地域文化结构映射

行佳丽,乔帆 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.15 No.-

In the south of Shanxi, a layout of paperboard engravings from the late Qing Dynasty to 1970s is still preserved in the cloth printing and dyeing cultural relics. In 2018, the research team of Shanxi Normal University under the program of “Engraving Pattern Digital Protection and Design Application in Pingyang Printing and Dyeing Cloth” completed the “static image collection” and “vectorization of engraved patterns” of this batch of patterns. Through the symbolicgraphic Combination analysis of the elementary unit and the layout of this batch of patterns, the data result shows the characteristics of the folk art modelling in southern Shanxi and the local cultural structure. This database recovers the variety and creativity of printing and dyeing pattern at that time. It redesigns the old patterns into new ones. In the end, we apply the technology to modern home decoration in a “cultural and creative experiment”. 在山西布艺印染文物中留存有一批自清朝末年至二十世纪七十年代之间的纸型刻版,2018年山西师大的《平阳印染布艺刻版图案数字化保护与设计应用》课题组完成了对该批花版的“静态图像采集”与“刻版图案矢量化”。通过对该批花版图案的单元形与布局之数形结合解析,数据结果显示出晋南民间美术造型特征与当地文化结构。又借助此数据库,“还原模拟”了当时晋南的印染图案组合与创意,以及对原有图案再设计,以“文创实验”的方式应用于现代家居装饰。

生态地理条件下的终南文化特征论

张毅 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.15 No.-

当前的终南文化研究尚未对整体特征进行研究和总结。本文做出终南文化的总特征是“博大”的结论,并且这一特征表现在广度、长度、高度、深度四个方面。而其“博大”总特征形成的基础原因就是终南文化的所处的、所拥有的生态地理空间的“博大”和资源的“丰富”。在诸多历史文献如《尚书古文疏证》《<山海经>笺疏》《<通鉴>地理通释》中就看到多处使用终南山的别称“太(大)乙山”,这个“太(大)”字就表明其“博大”之意。(一)广度最广,因为位居中国中部的地理原因,终南文化的博大在广度上具体表现为兼容了中国东、西、南、北各大空间的多种地域文化,是兼容性最强、最有广度的中国地域文化;(二)长度极长,地理上东西绵延600公里以上,文化上从史前到近现代的文化史,长度均位居中国最前列;(三)“高度”最高,终南山兼领中国域内众山之高,地理上拥有中国大陆东部海拔最高峰,孕育了儒家、道家,光大了法家,有佛教六大宗派祖庭,显示了极高的文化高度。(四)令人印象深刻的自然“深度”和文化“深度”。仅其北麓30公里深藏有丰富的地质遗产和世界级珍稀动植物资源及3000多种中药材,促生了深厚的“中草药”文化;其南麓更深的山地则蕴藏着其他诸如茶、丝绸、古栈道、商旅、神秘文化等极富“深度”的文化遗迹和遗产。另外,终南山“一地多名”现象也从侧面证明它的“博大”。这样的结论说明了终南文化曾经是中国历史上最具代表性的文化,这启示了我们必须重新认识当下还处于边缘化的终南山及其文化的地位,同时也对深度认识中国文化提供了一个相当关键的窗口。 The current Zhongnan culture research has not studied and summarized the overall characteristics. This paper concludes that Zhongnan culture is characterized by breadth, length, height and depth. The basic reason for the formation of the general feature of "extensive" is the "extensive" of the ecological geographical space and the "abundant" of resources of Zhongnan culture. In many historical documents, such as the Ancient Literature of Shang Shu, Shan Hai Jing, and The General Interpretation of Geography of the Zi Zhi TongJian, we can see that Zhongnan Mountain has been named "Tai (Da) Yi Mountain" in many places, and the word "Tai (Da)" indicates its "broad" meaning. (1) It is the most extensive. Because it is located in the middle of China, the breadth of Zhongnan culture is embodied in the compatibility of various regional cultures in the east, west, south and north of China. It is the most compatible and broadest Chinese regional culture. (2) It is extremely long, extending over 600 kilometers from east to west geographically. Culturally, it ranks first in China in terms of the length of cultural history from prehistoric times to modern times; (3) "Height" is the highest. Zhongnan Mountain is also the highest mountain in China. Geographically, Zhongnan Mountain has the highest altitude in the eastern part of mainland China. (4) Impressive natural and cultural depth. Only 30 kilometers deep in the northern foothills, there are rich geological heritages, world-class rare animal and plant resources and more than 3,000 kinds of Chinese medicinal materials, promoting the growth of a profound "Chinese herbal medicine" culture. The deeper mountains to the south contain other "deep" cultural relics and heritages, such as tea, silk, ancient trestle road, business travel and mysterious culture. In addition, the phenomenon of "multiple names in one place" in Zhongnan Mountain also proves its "broad" from the side. This conclusion shows that Zhongnan culture was once the most representative culture in Chinese history, which enlighten us to re-understand the status of Zhongnan Mountain and its culture, which is still marginalized at present, and at the same time, it also provides a very critical window for the in-depth understanding of Chinese culture.

中国古代民俗文字设计思想研究——以“寿”字为例

夏天 상명대학교 한중문화정보연구소 2022 中國地域文化硏究 Vol.16 No.-

Ancient China has made remarkable achievements in the field of art and craftsmanship, and its rich and colorful content and forms have attracted widespread attention from contemporary researchers. As a recording and disseminating tool of culture and information, apart from calligraphy art, the research on Chinese characters from the perspective of font design and visual theory is relatively blank at this stage. As the research scope of Chinese design history, it is rarely involved in character design alone. Chinese character design has a huge cultural connotation and shape classification, which contains rich traditional Chinese cultural spirit, and also reflects the customs and values of different historical stages. This paper selects the most representative "shou" character in traditional characters, and analyzes and explores its cultural origin and design ideas. Through the study of its different shapes, it is known that the design of the "shou" character usually uses symbols, meanings, Homophonic, induction, text and other ways to combine thought and visual modeling to form a unique form of text design. This basically covers all the design ideas of Chinese characters and folklore. Through this research, the purpose is to systematically analyze and sort out the design ideas and graphic design methods of the commonly used characters in ancient Chinese folk customs, and to actively explore the design culture of Chinese characters. 中国古代在艺术与工艺领域有着显著的成就,其丰富多彩的内容与形式受到当代研究者的广泛关注。作为文化与信息的记录传播工具的汉字,除了书法艺术之外,现阶段以字体设计与视觉理论视角的研究较为空白。而作为中国设计史的的研究范围,也很少单独涉及文字设计。中国的文字设计有着庞大的文化内涵与造型分类,其蕴含了丰富的中国传统文化精神,同时也体现了不同历史阶段的习俗、价值观。本文选取传统文字中最具有代表性的“寿”文字,针对其文化起源与设计思想为对象进行分析与探索,通过对其不同造型的研究得知,“寿”字设计通常使用象征、隐喻、谐音、归纳、变形等方式进行思想与视觉造型的结合,形成别具一格的文字设计形式。这基本上涵盖了汉字民俗文字的所有设计思想。通过本研究,目的是对中国古代民俗常用文字的设计思想与图形化设计方式进行系统的分析与整理,对汉字设计文化进行积极的探索。

中国明清时期提盒特点研究

李闯 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.14 No.-

The stackable handled lunch box holds a special position in the history of traditional Chinese food containers. It reflects not only the feature of the times, region and custom, but also has unique artistic and aesthetic value. Starting from the characteristics of the food culture of the Ming and Qing dynasties, this article interprets this food container from different viewpoints, i.e. the development, craft, functional evolution and cultural symbolism. The article aims to explore and sort out the unique aesthetics and cultural value of the stackable handled lunch box in the Ming and Qing Dynasties so as to summarize the characteristics of it. As is known to all, traditional culture is the core of national cohesion and the scientific support for a country's prosperity and development. Outstanding traditional culture should be active in the society. As one of the typical manifestations of traditional culture, the stackable handled lunch box should realize its urgent transformation and innovation actively to better cater to the need of the modern world. Meanwhile, upgrades and improvements should be achieved without violating the custom. With modern culture as its background, the research on the stackable handled lunch box can provide useful reference for modern life. 提盒在中国传统食器中占有特殊的地位,融合了时代特色、地域特质以及民族文化等因素,具有独特的艺术性和审美价值。本文从明清两代饮食文化的时代特色出发,从提盒的发展契机、工艺审美、功能演变及文化象征等角度进行解读,旨在发掘梳理明清时期提盒独有的审美特点与文化价值,以期总结传统提盒文化的特点。 传统文化是民族凝聚力之源,是国家实现兴旺发达的科学支撑,优秀的传统文化应该活性化的存在于社会链条之中。提盒作为传统文化的典型表现载体之一,更要坚定的在新形势下让它积极实现转型与创新,不断的去实现升级和改良,这样既遵循民族传统,又充满时代感和新鲜活力。在当前的文化背景下,对提盒文化的研究能够对现代生活提供有益的参考与借鉴。

烙笔生“花”--南阳民间艺术烙画的传承与发展探究

王璐 상명대학교 한중문화정보연구소 2021 中國地域文化硏究 Vol.14 No.-

Pyrograph is a kind of traditional Chinese folk art. It uses carbonization principle and temperature control technique to form various patterns on the surface of wood with iron pen with temperature between 300 ℃ and 800 ℃. Nanyang pyrography has been handed down until now, and this art form has been applied in all aspects of our daily life. With the increase of international attention in China, various forms of culture and art in China have also attracted much attention. With the continuous development of cultural industry, the prospect of related industries derived from folk art has been reborn with new blood. Nanyang brand painting is a unique work of art in China. It belongs to the intangible cultural heritage crafts, and also represents the cultural heritage Nanyang culture and art image. However, this folk art form of pyrography, in fact, is far from being known by the public and its own influence on art. In view of the above problems, this paper analyzes the background status of Nanyang pyrography and the feasibility of its inheritance and development, aiming at arousing people's recognition and protection of folk art, and arousing people's respect for the art left behind in the long river of history, art and culture. 烙画,是一种中国民间传统艺术,它是利用碳化原理、通过控温技巧,用温度在摄氏三百至八百度之间的铁笔烙烫在木制表面上,形成各种图案。南阳的烙画一直流传到现在,并且这种艺术形式应用在我们日常生活的方方面面。随着中国国际的关注度的提高,中国的各种文化艺术形式也随之备受瞩目着,民间艺术衍生的相关产业前景也随着文化产业的不断发展进而脱胎换骨般有了新的血液,南阳烙画就是属于我国民间独有的一朵艺术奇葩,它属于非物质文化遗产工艺品,同时也是代表着南阳文化艺术的形象。但烙画的这种民间艺术形式,实则上大众所知度与它自身对艺术的影响度相差甚远,针对上述问题,本文分析了南阳烙画的背景现状以及传承与发展的可行性,旨在唤起人们对民间艺术的认可和保护,以及唤起国人对历史艺术文化长河中沉淀留下的艺术的尊重。