两个莫里斯与东北大花布——东北大花布纹样与工艺美术运动和符号学的关系研究

Two Morris and Northeast floral cloth:study on the relationship between the patterns of Northeast floral cloth and the arts and crafts movement and semiotics

颜色艳丽的大花布传递出的“东北味儿”已成为全国范围内的文化共识,但这种花布纹样既不是东北人设计的,也不是在东北设计的,甚至纹样也不是取材于东北。文章通过分析东北大花布的特色总结出中华文化的独创性和包容性,无论是威廉·莫里斯的纹样设计还是查尔斯·莫里斯的符号学研究,都有助于优化受众对东北大花布的产品文化体验,凸显东北大花布的地域文化特色,由此调动受众的感官维度,使其对这一地域的文化符号进行感知和理解,提高东北大花布的辐射力和影响力。

The“Northeastflavor”conveyed by brightly coloredfloral cloth has become a nationwide cultural consensus,but this type offloral cloth pattern is neither designed by Northeasterners nor in Northeast China,and even the pattern is not based on Northeast China.This paper summarizes the originality and inclusiveness of Chinese culture by analyzing the characteristics of Northeastfloral cloth.Whether it is William Morris’pattern design or Charles Morris’semiotic research,it helps to optimize the audience’s product cultural experience of Northeastfloral cloth,highlight the regional cultural characteristics of Northeastfloral cloth,and thus mobilize the audience’s sensory dimensions to perceive and understand the cultural symbols of this region,enhance the radiation and influence of Northeastfloral cloth.