By analyzing the courses of graphic design major, the author points out that it is necessary to put Chinese traditional culture into courses of graphic design, which can open up students＇ design ideas, optimize their...By analyzing the courses of graphic design major, the author points out that it is necessary to put Chinese traditional culture into courses of graphic design, which can open up students＇ design ideas, optimize their design styles and awareness, as well as improve their moral cultivation. The paper elaborates the influences and realistic significance of Chinese traditional culture on graphic design from perspectives of national cultural development, design communication and teaching application. It emphasizes the specific impacts and penetration of the traditional culture in the teaching of graphic design, including teaching content, teaching concepts, and basic teaching practices, etc. With multi- level elaboration, multi-angle exposition and multi-instance citation, it shows the methods to involve Chinese traditional culture in graphic design展开更多
A symbol is an expression of meaning,while blank symbols express special meanings.By focusing on the application of blank symbols in Japanese architecture and indoor designs,we analyzed the aesthetic principles in Jap...A symbol is an expression of meaning,while blank symbols express special meanings.By focusing on the application of blank symbols in Japanese architecture and indoor designs,we analyzed the aesthetic principles in Japanese architecture and indoor designs from the perspective of semiotics,such as“Kongji,”“Emptiness,”and“Dying out,”and their minimalist and pure design concepts.Traditional Chinese culture was also further explored,especially the profound influence of the“Chan sect”and the philosophy of“unity of heaven and mankind”on Japanese architecture and designs.This study aims to facilitate the coexistence and mutual appreciation of Chinese and Japanese architectural designs.展开更多
The human social development saw the formation of five unique civilizations,with the latter forming their own distinctive cultures.China’s traditional culture is its most fundamental ideological weapon for solving pr...The human social development saw the formation of five unique civilizations,with the latter forming their own distinctive cultures.China’s traditional culture is its most fundamental ideological weapon for solving problems.The Chinese are good at comprehensive thinking,dialectical thinking,and systematic analysis.These ideological weapons can solve the problems of formal science and technology and create scientific and technological achievements on par with global advanced scale.Ancient China is filled with original scientific and technological achievements,which strongly prove ancient China’s possession of its own science and technology different from that of Western Renaissance.Therefore,a comprehensive understanding of science,technology,experience,and intuition is necessary.The long-held superstition regarding the West,the lack of confidence,self-denial,blind imitation of ideas,and shackles must be thrown away.Only then can we take the road toward an authentic Chinese creative design as we learn from others.展开更多
This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e19...This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e1972),one of the most distinguished Chinese architects and architectural historians,in the 1920s and 1930s in China,informed by the strong collective intention to honour the Chinese past.This article provides a historical and critical reflection on this collective intention that is still shared nowadays by architects and architectural theorists.This article examines in depth the evolution of the different ways Liang used the building past and constructed the Chinese architectural traditions in different crucial stages of his architectural career in the 1920s and 1930s.It uses architectural drawing as both the research subject and the research method.Three of Liang’s representative drawings from these crucial professional stages are juxtaposed and investigated to reveal this evolution using the iconography and iconology method.展开更多
文摘By analyzing the courses of graphic design major, the author points out that it is necessary to put Chinese traditional culture into courses of graphic design, which can open up students＇ design ideas, optimize their design styles and awareness, as well as improve their moral cultivation. The paper elaborates the influences and realistic significance of Chinese traditional culture on graphic design from perspectives of national cultural development, design communication and teaching application. It emphasizes the specific impacts and penetration of the traditional culture in the teaching of graphic design, including teaching content, teaching concepts, and basic teaching practices, etc. With multi- level elaboration, multi-angle exposition and multi-instance citation, it shows the methods to involve Chinese traditional culture in graphic design
基金Department of Education in Yunnan Province Fund for Scientific Research,Research on the Origin Tracing of the Traditional Architectures of Limi People of Yunnan Yi Ethnic Group(No.2022Y658).
文摘A symbol is an expression of meaning,while blank symbols express special meanings.By focusing on the application of blank symbols in Japanese architecture and indoor designs,we analyzed the aesthetic principles in Japanese architecture and indoor designs from the perspective of semiotics,such as“Kongji,”“Emptiness,”and“Dying out,”and their minimalist and pure design concepts.Traditional Chinese culture was also further explored,especially the profound influence of the“Chan sect”and the philosophy of“unity of heaven and mankind”on Japanese architecture and designs.This study aims to facilitate the coexistence and mutual appreciation of Chinese and Japanese architectural designs.
文摘The human social development saw the formation of five unique civilizations,with the latter forming their own distinctive cultures.China’s traditional culture is its most fundamental ideological weapon for solving problems.The Chinese are good at comprehensive thinking,dialectical thinking,and systematic analysis.These ideological weapons can solve the problems of formal science and technology and create scientific and technological achievements on par with global advanced scale.Ancient China is filled with original scientific and technological achievements,which strongly prove ancient China’s possession of its own science and technology different from that of Western Renaissance.Therefore,a comprehensive understanding of science,technology,experience,and intuition is necessary.The long-held superstition regarding the West,the lack of confidence,self-denial,blind imitation of ideas,and shackles must be thrown away.Only then can we take the road toward an authentic Chinese creative design as we learn from others.
基金sponsored by the Chinese Scholarship Council,The Bartlett Architecture Research Fund,and The Society of Architectural Historians of Great Britain(SAHGB)Research Grant.
文摘This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e1972),one of the most distinguished Chinese architects and architectural historians,in the 1920s and 1930s in China,informed by the strong collective intention to honour the Chinese past.This article provides a historical and critical reflection on this collective intention that is still shared nowadays by architects and architectural theorists.This article examines in depth the evolution of the different ways Liang used the building past and constructed the Chinese architectural traditions in different crucial stages of his architectural career in the 1920s and 1930s.It uses architectural drawing as both the research subject and the research method.Three of Liang’s representative drawings from these crucial professional stages are juxtaposed and investigated to reveal this evolution using the iconography and iconology method.
