論中國(guó)傳統(tǒng)文化元素在展示設(shè)計(jì)中的運(yùn)用

1、ChineseTraditional culture in modern designAbstract: the present paper summarized from the contemporary design a contradiction, namely guide and design guide design. From the cultural Angle to analyze this contradiction, that of traditional culture to solve this contradiction, the advantage and the

2、use of traditional culture. Introduction: we have claimed thousands of years have excellent traditional culture, we have only two years because of American history and call for a no country, and we have had the invaders plundered the weeping of cultural treasures us. Contemporary, we see the streets

3、, Korea ha girls, We saw the modern art stadium well preserved ancient Egyptian tomb, Greek statue carved door plank, Rome column, stone etc; China We also saw, domestic cultural relic smuggling, place of disrepair. The development of modern technology, economy, Chinese design also is outspread, som

4、e think in let a hundred flowers bloom, but also somebody thinks that is jealousy. Only the two aspects of knowledge, we look at the contemporary design, a loss. Thus, if we can be due to explore the contemporary design point of the design objective existence from the subjective consciousness and de

5、signer to design the cultural field, placed itself from the macroscopic cultural ideology is analyzed. We can be considered art design with philosophy, religion and culture fields are, is a spiritual existence, with certain ideas for guiding principle of the spirit, a form of value creation. 1 In va

6、rious periods of history culture plays a part, the design is also so. The contemporary design, whether should also such, after several years later at the contemporary design, realize he embodies the culture of evolution and development. Our people, a lot of traditional view will describe the old feu

7、dal ideas, old. This allows us to study traditional only stay in some image. Mr. As famous folk traditional ZhangShou explained that preach when that spread and spread, the system integration is refers to a country. Generally by the national history or from the ideological, moral, ethical, style, ar

8、t, system, mainly in culture. 2 And culture is a nation in history and permeates all behavior of system. Generally includes material culture and spiritual culture equipment from two aspects. The peoples physical equipment, building, ships. is the most easily understood; culture is the most acceptabl

9、e hand. They decided to the cultural level. This section includes a . all knowledge, including the moral and spiritual value of the economic system, including the social organization. These we can always called spiritual culture, only in the human spirit changed material, make people according to th

10、eir understanding and moral ideas to application, only useful material. On the other hand substance culture is molded or control the generation in the course of a lifestyle which cannot lack tool. The artifacts and habits formed two aspects of culture, physical and spiritual, implements and habits a

11、re not short, and they are a form of decision and mutual. 3 Malinowski in its aims of dialectical analysis of the two aspects of cultural and spiritual relationship - material. Traditional culture can be traced to the artifacts and habits. Just like a family heirloom and daily behaviors. Standing in

12、 the historical point of view, traditional culture is that some of the material and spirit of precipitation. The development of productivity makes material get improvement and innovation, make mankind conquer nature and a new expression of emotion. Physical changes, environmental changes in the nerv

13、ous system, making a habit also change. The increase in productivity, high-speed today material has improved greatly, and makes some of our human follow up or swerves habits and that of traditional culture with a separation. Design, and our life as a kind of activities, from the macroscopic Angle, s

14、ome political reform, economic development, can be called design; Microscopic aspects in daily life, people eat lines included. Design is people-oriented, which I think can be divided into two types: the ideology of subjective and objective (i.e. designer) (that is, the ideology of mass groups). Chi

15、nas vast areas, the picture of the economy, the culture and the existence of certain differences. In some places, the level of economic backwardness in doing when designing designers to conduct a trouble, when in contact with the popular design, final result is not recognized by changed beyond recog

16、nition. Design In doing that stylist designed vapid. Follow the design is vulgar culture, the serious pollution. In the general population, accept designers often feel unsatisfactory, but many of their culture quality low also. Developed economy, due to the impact of foreign culture, stylist china-s

17、outhwest smacks western-worship thought, In addition, the mass groups have similar ideas, hit it off. The economy of the regional differences in design is two kinds of traditional culture has a certain impact. Formation of the vicious circle, but also gives us a problem guide and design conflict. Gu

18、ide From the perspective of culture, the guide and design this itself is guided fusion together. Like French impressionist rise, even the street shoe the woman will also talk about the history of sine Japanese painting Monet also had similar situation. Song, advocating Taoism gradually, the old man

19、will sell pancake. It also explains the design in our jobs when also in lead your direction. Conversely, who guided the design also guide, from material and consciousness, material is primary, secondary, material influence is conscious awareness, consciousness also influence material. When people ha

20、ve some common knowledge that (common language) design and people will come together and take a certain age characteristics, development on what to use as the common language? Undoubtedly the best or traditional culture. After all, traditional culture is closer, such as some of our habits, Chinese u

21、se chopsticks for so many years, if use a fork, or little habits. This is an awareness of a kind of feelings. If you grasp the feelings designers, all problems also. In fact, the modern cultural tide namely clip our every corner of the social economic development, the rural population, the gap betwe

22、en urban and rural areas to cities, traditional craft survival of small-scale peasant economy foundation groups and industrial goods on the market economy, the traditional combat lifestyle, traditional values have changed a lot and aesthetic ideas. Consumption idea, fundamentally waver. Making folk

23、High consumption level of folk craft to shrink, the serious erosion folk artists, all this continued. From the perspective of value, but also makes our designer, also in some stylist want to sink, float. But from many examples, sink float is coming. This also makes the social culture and someone sai

24、d, make people dont understand culture. Perhaps this is the design of our existence, but said that the state of the design, cultural quality is not high, imitate, foreign design like the invention of gunpowder, Chinese and foreign into the gun against China 1,300,000,000 Chinese to learn, and foreig

25、n. Now we also can solve that design of traditional culture and modern design is master. Mr. ChenHanMin solved, Mr. JinDaiJiang solved, so we call them master. Mr. ChenHanMin wangfujing sign of the restaurant in the design, the traditional Chinese knot and architectural wall adornment, make we see c

26、ombine this logo, both Chinese culture and modern design, have the characteristic. Mr. JinDaiJiang in the poster design of cases of the Chinese ink, using the modern technology integration technique, special mechanism, modern and traditional effect. Mr. B is the world recognized buildings in China,

27、the use of xiangshan hotel hangman white wall brick tiles and tonal, make modern architectural culture, formed a chord. They all have their masters must be cultural quality; digging out the essence of Chinese traditional culture, a kind of refreshing, let us feel the likelihood has a similar feeling

28、. As the contemporary design talents, design institutes student, should feel the importance of theoretical knowledge and cultivate a sense of stylist, or not do, do it best. To strengthen the research of traditional culture, dont sometimes not cherish till when it lost ZhangDaoYi regretted Mr. Treat

29、 traditional culture views hang guo3 lao3 Doily, ride on asses and looked back thusands of years, the variety, tens of thousands of multifarious, by comparison, identify, and in the phenomenon in outline, a thought, the donkey laden with straight toward the new era, not stick to the old pedantic, bu

30、t the creator to future. new 5 the development of contemporary design is not only the designers personal problems but with designers and public problems, find the same point, namely the traditional culture of the contemporary design for intervention should promote culture. Perhaps this is the tradit

31、ional culture and contemporary design for the biggest significance.論中國(guó)傳統(tǒng)文化元素在展示設(shè)計(jì)中的運(yùn)用摘要:本文從當(dāng)代設(shè)計(jì)的現(xiàn)狀總結(jié)出一個(gè)矛盾，即“設(shè)計(jì)引導(dǎo)人”與“人引導(dǎo)設(shè)計(jì)”。從文化的角度去分析這一矛盾沒(méi)，得出傳統(tǒng)文化對(duì)解決這一矛盾的優(yōu)勢(shì)，及對(duì)傳統(tǒng)文化的利用。引言：我們?cè)栽傆羞^(guò)幾千年的優(yōu)秀文化傳統(tǒng)；我們?cè)蛎绹?guó)只有兩百多年的歷史而謂之為“一個(gè)沒(méi)有傳統(tǒng)的國(guó)家”；我們?cè)ㄆ^(guò)侵略者掠奪了我們大量的文化瑰寶 當(dāng)代，我們看到了街頭哈日、哈韓的少男少女；我們看到了美國(guó)現(xiàn)代藝術(shù)館里保存良好的古埃及墓穴的雕刻門板，希臘雕像，羅馬柱式，中

32、國(guó)石佛等；我們也看到了，國(guó)內(nèi)出現(xiàn)了文物走私、文化場(chǎng)所的年久失修 經(jīng)濟(jì)的發(fā)展，現(xiàn)代技術(shù)的提高，中國(guó)設(shè)計(jì)也在延伸，有人認(rèn)為是“百花齊放”，但也有人認(rèn)為是“烏煙瘴氣”。僅這兩方面的認(rèn)識(shí)，使得我們看待當(dāng)代設(shè)計(jì)時(shí)，一片迷惘。緣于如此，我們是否可以把探討當(dāng)代設(shè)計(jì)的著眼點(diǎn)從設(shè)計(jì)的客觀存在與設(shè)計(jì)師的主觀意識(shí)上轉(zhuǎn)移到把設(shè)計(jì)本身置于文化領(lǐng)域內(nèi)，從宏觀的文化價(jià)值形態(tài)中進(jìn)行分析。設(shè)計(jì)我們可以看作是藝術(shù)同哲學(xué)、宗教等一樣都是文化的一個(gè)領(lǐng)域，“是作為精神的存在，以一定的理念為指導(dǎo)原理的精神、價(jià)值創(chuàng)造的一種形式?！币粴v史上各個(gè)時(shí)期的文化都起著承前啟后的作用，設(shè)計(jì)也同樣如此。當(dāng)代的設(shè)計(jì)是否也應(yīng)該這樣，使得若干年后，后人看待當(dāng)

33、代設(shè)計(jì)時(shí)，認(rèn)識(shí)到他體現(xiàn)了文化的演進(jìn)和發(fā)展。我們當(dāng)代人看待傳統(tǒng)時(shí)，很大一部分都會(huì)形容其是老觀念、老封建。這樣使得我們研究傳統(tǒng)時(shí)只停留在一些表象的東西。著名民藝家張授一先生解釋傳統(tǒng)時(shí)認(rèn)為 “傳即傳布和流傳，統(tǒng)即一脈相承的系統(tǒng)?？偟恼f(shuō)是指一個(gè)國(guó)家或民族由歷史沿傳來(lái)的思想、道德、人倫、風(fēng)格、藝術(shù)、制度等，概括起來(lái)主要是表現(xiàn)在文化方面?！倍幕且粋€(gè)民族在歷史上所創(chuàng)造并滲透于一切行為系統(tǒng)里的觀念體系。一般來(lái)說(shuō)文化包括物質(zhì)設(shè)備和精神文化兩個(gè)方面。 “人的物質(zhì)設(shè)備：器物，房屋船只都是文化中最易明白，最易接受的一方面。它們決定了文化的水準(zhǔn)”“這部分包括著種種知識(shí)，包括著道德上、精神上反經(jīng)濟(jì)上的價(jià)值體系，包括

34、著社會(huì)組織的方式。這些我們可以總稱作精神文化，只有在人類的精神改變了物質(zhì)，使人們依他們的理解及道德的見(jiàn)解去應(yīng)用時(shí)，物質(zhì)才有用。另一方面物質(zhì)文化是模塑或控制下一代人的生活習(xí)慣的歷程中所不能缺少的工具”“器物和習(xí)慣形成了文化的兩大方面物質(zhì)的和精神的，器物和習(xí)慣是不能缺一，它們是互相形成及相互決定的”三馬林諾夫斯基在其文化論中辨證的分析了文化的兩方面物質(zhì)性和精神性相互關(guān)系。 傳統(tǒng)文化可以說(shuō)是一脈相承的器物和習(xí)慣。就像一個(gè)家族的傳家寶和日常行為。 站在歷史的角度，傳統(tǒng)文化即是一些物質(zhì)與精神的沉淀。生產(chǎn)力的發(fā)展使得物質(zhì)得到改進(jìn)和創(chuàng)新，使人類有了新的征服自然和表述情感的工具。物質(zhì)的變化，環(huán)境的變化，使得人

35、在神經(jīng)系統(tǒng)養(yǎng)成的習(xí)慣也同時(shí)發(fā)生變化。在生產(chǎn)力高速提高的今天，物質(zhì)有了很大的提高，使得我們?nèi)祟惖囊恍┝?xí)慣跟不上或者完全跟上了卻又過(guò)了，這使得我們跟傳統(tǒng)文化有點(diǎn)脫節(jié)了。設(shè)計(jì)，作為和我們生活息息相關(guān)的一種活動(dòng)，從宏觀角度來(lái)看，國(guó)家一些政治改革、經(jīng)濟(jì)發(fā)展方面，都可以稱之為設(shè)計(jì)；微觀方面，人們?nèi)粘Ｉ钪械囊率匙⌒卸寄依ㄔ趦?nèi)。設(shè)計(jì)是“以人為本”的，這其中的人我覺(jué)得可以分為兩種：主觀形態(tài)方面的人（即設(shè)計(jì)師）和客觀形態(tài)方面的人（即大眾群體）。中國(guó)幅圖遼闊，各區(qū)域的經(jīng)濟(jì)、文化還有存在一定的差異。在一些經(jīng)濟(jì)水平落后的地方，設(shè)計(jì)師在做設(shè)計(jì)時(shí)總會(huì)遇到困難，做好一項(xiàng)設(shè)計(jì)與大眾接觸時(shí)得不到認(rèn)可，最終結(jié)果是設(shè)計(jì)被改得面目全

36、非。使得設(shè)計(jì)師在做設(shè)計(jì)時(shí)索然無(wú)味。緊跟是庸俗不堪的設(shè)計(jì)，嚴(yán)重的污染了文化視野。大眾群體認(rèn)為在接受設(shè)計(jì)師作品時(shí)，往往感到很多地方不盡人意，殊不知自身的文化素質(zhì)低下也有一方面。經(jīng)濟(jì)發(fā)達(dá)的地方，由于外來(lái)文化的沖擊，設(shè)計(jì)師耳濡目染帶有一點(diǎn)崇洋思想；加之，大眾群體也有類似思想，一拍即合。經(jīng)濟(jì)的地域性差異對(duì)于設(shè)計(jì)的這兩種影響都對(duì)傳統(tǒng)文化產(chǎn)生了一定的沖擊。形成的惡性循環(huán)，但也給我們帶來(lái)了一個(gè)問(wèn)題即“設(shè)計(jì)引導(dǎo)人”與“人引導(dǎo)設(shè)計(jì)”的矛盾。從文化的角度來(lái)看，“設(shè)計(jì)引導(dǎo)人”與“人引導(dǎo)設(shè)計(jì)”這本身就是互相融合在一起的。就像法國(guó)印象派興起的時(shí)候，連街頭擦鞋的女子也會(huì)談?wù)撃蔚挠彤?，中日歷史上也曾有過(guò)類似的情況。宋朝宋徽宗崇尚道教，導(dǎo)致了街上賣燒餅的老人也會(huì)說(shuō)道。這不也說(shuō)明了我們?cè)O(shè)計(jì)在引導(dǎo)人的時(shí)候同時(shí)也在引導(dǎo)自己的方向。反過(guò)來(lái)，人引導(dǎo)設(shè)計(jì)的時(shí)候也引導(dǎo)自己，從物質(zhì)與意識(shí)的關(guān)系來(lái)看，物質(zhì)是第一性，意識(shí)是第二性，物質(zhì)影響意識(shí)，意識(shí)也影響物質(zhì)。當(dāng)人們有一定的共同認(rèn)識(shí)即（共通語(yǔ)言）設(shè)計(jì)與人就走到一起了并帶著一定的時(shí)代特性往前發(fā)展了，