首飾的吉祥寓意與吉祥表達(dá)
發(fā)布時間：2018-10-15 09:24
【摘要】：時代在變化，傳統(tǒng)的吉祥寓意首飾的造型已不再符合現(xiàn)代人的審美要求，但是人們?nèi)源嬗凶非蠹椤⑿腋Ｉ畹拿篮迷竿c情感訴求。因而，本文試圖通過研究中國的吉祥文化與首飾設(shè)計(jì)的融合——賦予首飾以文化性的課題，以期望借助于民族文化的底蘊(yùn)，探討符合現(xiàn)代人審美情趣與品味的吉祥寓意首飾風(fēng)貌，進(jìn)而為首飾的本土化原創(chuàng)設(shè)計(jì)提供一個參考價值與拓寬現(xiàn)代首飾的創(chuàng)意設(shè)計(jì)思路。 本文首先界定了吉祥寓意首飾的內(nèi)涵，并通過研究吉祥寓意首飾的歷史發(fā)展過程，總結(jié)出其發(fā)展演變的主要三個階段及其階段的變化特點(diǎn)；其次分析、總結(jié)出吉祥寓意首飾的市場現(xiàn)狀特點(diǎn)；接著通過對中國傳統(tǒng)的吉祥寓意表現(xiàn)內(nèi)容的分析，并結(jié)合實(shí)例探討其與首飾設(shè)計(jì)融合的創(chuàng)意思路；然后又結(jié)合具體實(shí)例探討了現(xiàn)代吉祥寓意首飾的藝術(shù)表現(xiàn)，并親自進(jìn)行了一些設(shè)計(jì)與加工；最后，提出了一些建設(shè)性的市場營銷思路。通過研究總結(jié)出： 1.中國的吉祥文化源遠(yuǎn)流長，而吉祥寓意首飾的歷史發(fā)展過程（以漢民族的吉祥寓意首飾為重點(diǎn)探討范圍），其主要經(jīng)過了三個階段：從遠(yuǎn)古到新石器時期，形成圖騰符號信仰階段的雛形期；從夏商周朝到元朝，形成封建階級觀念下的發(fā)展期；明清時社會工藝美術(shù)日益世俗化帶來的興盛期。 2.吉祥寓意首飾的設(shè)計(jì)思路不能只局限在吉祥紋樣的轉(zhuǎn)化，而應(yīng)從傳統(tǒng)吉祥寓意的表現(xiàn)內(nèi)容上如物態(tài)符號，圖案符號，，吉祥元素符號以及節(jié)慶元素符號等進(jìn)行多方面的創(chuàng)意思路設(shè)計(jì)。 3.應(yīng)著重塑造吉祥寓意首飾的品牌風(fēng)格，其關(guān)鍵在于其產(chǎn)品風(fēng)格的詮釋，產(chǎn)品風(fēng)格多是通過首飾的色彩、紋樣、材質(zhì)、肌理、工藝、題材等各方面的綜合表現(xiàn)而被消費(fèi)者感知。 4.在確定好產(chǎn)品風(fēng)格之后，應(yīng)根據(jù)中國現(xiàn)代的每個節(jié)日特點(diǎn)，選擇適當(dāng)?shù)募樵⒁忸}材，進(jìn)行節(jié)日系列產(chǎn)品開發(fā)，最后通過事件營銷、網(wǎng)絡(luò)營銷、廣告與宣傳等營銷方式將產(chǎn)品推向市場。
[Abstract]:The times are changing, the traditional auspicious symbolic jewelry shape has no longer met the aesthetic requirements of modern people, but people still have the pursuit of auspicious, happy life and emotional aspirations. Therefore, this paper attempts to study the integration of Chinese auspicious culture and jewelry design, which is the subject of giving jewelry a cultural character, in order to hope for the help of the national culture. This paper probes into the auspicious connotations of jewelry that accord with the aesthetic taste and taste of modern people, and then provides a reference value for the native original design of jewelry and a creative design idea to broaden the modern jewelry. This paper first defines the connotation of auspicious meaning jewelry, and through the study of the historical development process of auspicious moral jewelry, summarizes the main three stages of its development and evolution and the change characteristics of its stages. This paper summarizes the market characteristics of auspicious symbolism jewelry, and then analyzes the traditional Chinese auspicious signification performance content, and discusses the creative ideas of combining it with jewelry design through the analysis of Chinese traditional auspicious moral performance content. Then it discusses the artistic expression of modern auspicious jewelry with concrete examples, and designs and processes it in person. Finally, it puts forward some constructive marketing ideas. The results are as follows: 1. The auspicious culture of China has a long history, and the historical development process of auspicious jewelry (focusing on the auspicious moral jewelry of the Han nationality) has mainly gone through three stages: from ancient times to the Neolithic period. The embryonic period of totem symbol belief stage; from the Xia, Shang and Zhou dynasties to the Yuan Dynasty, the formation of feudal class concept under the development period; Ming and Qing dynasties, the increasingly secularization of social arts and crafts brought prosperity. 2. The design idea of auspicious moral jewelry should not be limited to the transformation of auspicious patterns, but should be based on the traditional auspicious symbols, such as physical symbols, pattern symbols, etc. Auspicious element symbol as well as festival element symbol and so on carries on the many aspects creative thought design. 3. Emphasis should be placed on shaping the brand style of auspicious jewelry, the key to which lies in the interpretation of its product style, which is mostly through the color, pattern, material, texture, craftwork of the jewelry. Subject matter and other aspects of the comprehensive performance of consumer perception. 4. After determining a good product style, we should select appropriate auspicious moral themes according to the characteristics of each festival in modern China, and carry out the development of holiday series products. Finally, through event marketing and network marketing, Marketing methods such as advertising and publicity push products to the market.
【學(xué)位授予單位】：中國地質(zhì)大學(xué)(北京)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J526
本文編號：2272088
[Abstract]:The times are changing, the traditional auspicious symbolic jewelry shape has no longer met the aesthetic requirements of modern people, but people still have the pursuit of auspicious, happy life and emotional aspirations. Therefore, this paper attempts to study the integration of Chinese auspicious culture and jewelry design, which is the subject of giving jewelry a cultural character, in order to hope for the help of the national culture. This paper probes into the auspicious connotations of jewelry that accord with the aesthetic taste and taste of modern people, and then provides a reference value for the native original design of jewelry and a creative design idea to broaden the modern jewelry. This paper first defines the connotation of auspicious meaning jewelry, and through the study of the historical development process of auspicious moral jewelry, summarizes the main three stages of its development and evolution and the change characteristics of its stages. This paper summarizes the market characteristics of auspicious symbolism jewelry, and then analyzes the traditional Chinese auspicious signification performance content, and discusses the creative ideas of combining it with jewelry design through the analysis of Chinese traditional auspicious moral performance content. Then it discusses the artistic expression of modern auspicious jewelry with concrete examples, and designs and processes it in person. Finally, it puts forward some constructive marketing ideas. The results are as follows: 1. The auspicious culture of China has a long history, and the historical development process of auspicious jewelry (focusing on the auspicious moral jewelry of the Han nationality) has mainly gone through three stages: from ancient times to the Neolithic period. The embryonic period of totem symbol belief stage; from the Xia, Shang and Zhou dynasties to the Yuan Dynasty, the formation of feudal class concept under the development period; Ming and Qing dynasties, the increasingly secularization of social arts and crafts brought prosperity. 2. The design idea of auspicious moral jewelry should not be limited to the transformation of auspicious patterns, but should be based on the traditional auspicious symbols, such as physical symbols, pattern symbols, etc. Auspicious element symbol as well as festival element symbol and so on carries on the many aspects creative thought design. 3. Emphasis should be placed on shaping the brand style of auspicious jewelry, the key to which lies in the interpretation of its product style, which is mostly through the color, pattern, material, texture, craftwork of the jewelry. Subject matter and other aspects of the comprehensive performance of consumer perception. 4. After determining a good product style, we should select appropriate auspicious moral themes according to the characteristics of each festival in modern China, and carry out the development of holiday series products. Finally, through event marketing and network marketing, Marketing methods such as advertising and publicity push products to the market.
【學(xué)位授予單位】：中國地質(zhì)大學(xué)(北京)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J526
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 許 星;中國民間傳統(tǒng)護(hù)身裝飾品的形式與內(nèi)涵初探[J];東華大學(xué)學(xué)報(自然科學(xué)版);2001年01期
2 吳愛琴;;談中國古代服飾中的佩掛制度[J];華夏考古;2005年04期
本文編號：2272088
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