Traditional Visual Symbols and Modern Artistic Designs
Nowadays, artistic design is in a rather awkward position which shows an unprecedented confusion under the environment of World Economy Globalization. On the one hand, it imitates the visual languages of stronger countriesculture passively; on the other hand, it is quite superficial on the understanding of Chinese national culture and on the representation of humanism spirit. It seems that design culture is lack of self-confidence to its own culture. How to make modern design not only reflects international design philosophy and time spirit, but also reflects the different cultural identity and aesthetic trends in every region, every national culture. So it is very urgent to solve this problem. To a nation with a long history, traditional visual symbols which have deep impacts on national aesthetic psychology and which embody a nations own cultural implication are indeed a tremendous non-material cultural resources. Traditional visual symbols are so consistent with ordinary peoples living attitudes, value standard and aesthetic senses that they have inborn affinity of a nation. Modern design should be based on our own nations culture, learn something valuable from traditional visual symbols, and use modern methods of design to integrate quintessence of our own traditional culture into design. This paper will focus on the authors creation of ten-good emblem of the 16th Asian Games for an in-depth analysis and study.
Traditional Visual Symbols National Aesthetic Psychology Modern Artistic Design
Zhu Shouhui Cheng Liying Chai Yingjie
School of Design Art, Lanzhou University of Technology, Lanzhou, Gansu, 730050 School of Education, Northwest Normal University, Lanzhou, Gansu, 730070
国际会议
深圳
英文
83-85
2007-12-06（万方平台首次上网日期，不代表论文的发表时间）