Metropolitan Emblems or Symbols in Globalization？ Both for the Future of Metropolises and Their Citizens

This research concerns on ＂metropolis and metropolisation＂： what is new with the symbols of city local life and the emblems of global competition？ From New York, Rome, Barcelone, Paris and Bordeaux, the same question demands specific answers： can we live and appreciate urban and metropolitan symbols and emblems together or on their own？ That is the question for towns and the future of their citizens. Confrontation of urban sites and observed places with the plural points of view of their establishment, their designers and urban skills, and their inhabitants and citizens. The combination of these several points of view always make a richer discovery than their disciplinary partition and monopoly.

历届奥运会徽设计形态演变研究

目的奥运会徽的设计有时间上的规律性和空间上的不可预计性,形成了既系统又独立的形态风貌。系统地研究奥运会徽的设计演变,为设计师在国际大型活动的标徽设计中提供理论参考。方法通过历届冬夏两季奥运会徽进行设计要素解析,总结奥运会徽的设计原则,分析会徽形态演变方式,并提出了对未来会徽形态的预想。结论会徽的设计一直以民族文化与国家意志为依托,强调传统与时代、传承与发展,是地域文化个性与人类文明共性的结合,但鉴于其商业运作模式的考量,设计形态虽然受媒介和技术的影响发生模态变化,但会徽传递的信息范式不会改变。

缔造国家视觉形象——新中国国徽设计考略

国徽设计是新中国设计界最辉煌与骄傲的成就之一,其诞生经历了一段不平凡的历程。文章结合不为人们所熟知的史料,既对国徽设计背后的复杂历程进行钩沉,也对国徽设计团队多位参与者的文化归属、价值取向、方法实践等问题进行考察,揭示国徽设计蕴含的政治意象、时代精神与文化内涵以及国徽与国家形象之间的紧密关系。

会徽——地质学会的文化表达

会徽是一种行业标识、一段历史烙印、一个学术品牌,它作为一种信息载体,以简单、形象、易识别的图像表达了学术团体的学术宗旨和使命,同时彰显了学术团体的工作目标、学术精神等科学文化内涵。笔者等以中国地质学会会徽为分析案例,通过与东西方几个代表性国家地质学会的文化宗旨与会徽内涵的比较,探讨会徽在学会科学文化建设中的作用。

《周礼》国土景观的象数渊源与数理秩序解析

揭示象数对中国古代空间与自然规律的关联逻辑,是理解国土景观秩序生成的思维基础,也是传承“大国山河”独特气质的可行思路。基于上古天文历法与《周易》“象-数-理”体系,厘清《周礼》“山-水-田-城”景观以象数为媒的“敬天”思路。结合《周易》象数易理,剖析其中“结构”“等级”“单元”“均列”的空间映射模式。据此解析象数对《周礼》国土景观秩序营构的影响:从全域“辨方正位”的“山-水-田-城”结构同构与等级列位,到局域“体国经野”的土地等单元衍生与聚落均列分布,最终实现“天人合一”的人居理想追求。研究将为当代国土景观遗产价值提供新的认知。

世界杯会徽设计风格演变与整合传播创新

目的分析历届国际足联世界杯会徽设计风格演进,以丰富世界杯会徽设计的专题研究,也为相关体育会徽设计提供一些借鉴。方法梳理国际足联世界杯会徽各个阶段的设计风格及其特点,探究国际足联世界杯会徽设计风格演进。结果国际足联世界杯会徽设计经历了从写实、图腾风格,到简约、人文风格为主的四个阶段,并在不同历史背景中逐渐具备艺术价值、文化价值和商业价值。结论体育会徽设计在定位、设计、应用及传播进程中,既要突破传统的平面设计语言,又要把握语言钉和视觉锤的匹配,在多维感知整合、新媒体下动态呈现,还要展示共创体验等,全方位传递赛事价值。

Giorgio Vasari’s A Bride with a Rake:A Mythological Pun

Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.

良渚图徽及“太阳神”刻绘符号研究

良渚文化觋兽图徽不仅本身是“太阳神”符号的载体,而且衍生出多种的器物和纹样。在考古学、文献学的基础上,以刻绘符号为线索对“太阳神”图案进行探讨。从极具艺术特性的觋兽图徽到内容意义独立的“昊”字符号,“太阳神”图案从“象”发展到“像”,不仅表现了“神―器―巫”图案互动模式从单线联系发展为的循环相连,还意味着符号的象征形态从不自觉进入到崇高。

王弼“得意忘象”美学思想的内涵、启示与效应

王弼提出了“得意忘象”的命题,为中国古典文化中的美学思想提供了一种独特的审美范式。从内涵来看,他基于魏晋时期的政治背景与精神语境,将言、象、意三者相互交融、难以分割的文辞关系,向关注内在人格、追求精神独立、解放与超越的美学思想进行转变。从启示来看,“得意忘象”为艺术本体、审美观照以及艺术形式与整体间关系的探讨提供了一定的理论基础,其具有三重向度的美学思想为探寻人性的独立与艺术创作的自由奠定依据。从效应来看,王弼的思想依托于魏晋时期的社会风气,蕴含着人格之美与生态之美,体现在对“圣人”人格的塑造以及追求自然之美的艺术创作中。

Guido Reni’s Infant Bacchus: “In vino veritas”

This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the painting.The historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo painting.The iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine barrel.The emblematic and cosmological associations of Bacchus’s divinity are considered as well.

1926—1927年的徽州兵灾与自救活动

1926年,孙传芳领导的“五省联军”被国民革命军击败后,在长达三个月的时间内有三支联军残部先后过境或驻防徽州,期间对当地社会秩序造成较大冲击。徽州社会遭遇了咸同兵燹以来最严重的破坏,不仅对经济发展与民众生活影响颇重,甚至传承已久的徽州文化都受挫明显。为此,徽州本地人和旅外徽州人一方面力所能及地开展灾后重建工作;一方面多方呼吁各方介入与孙传芳接团的谈判工作,力求将损失降至最低。1926—1927年徽州兵灾反映了变动社会秩序下北洋军阀的流入对传统社会的冲击,也反映出不能保境安民的北洋军队必然被革命军队和富有正义感的民众汇成的革命力量淘汰。

冬奥会徽图像符号对国家形象建构价值研究

文章以图像符号学的视角切入,通过对历届冬奥会徽图案的解读与分析,继而将冬奥会徽分为抽象几何图案类型、客观具象图案类型、融汇装饰图案类型、现代创意图案类型,并从中解析冬奥会徽图案设计理念对国家形象建构的价值功能。研究表明:冬奥会徽记载自然地理事物和国家领土空间,强化公民对国家兴衰负有的历史责任与使命担当;冬奥会徽传达了一个国家的声音,蕴含了一个民族的精神风貌,对激发爱国热情与情感联结,树牢民族共同体意识有聚焦作用;会徽记录着民族危难、唤醒公民铭记历史情怀,为国家形象的建构奠定共同而稳定的人民基础。

Analysing Shakespeare＇s Emblem Language in Midsummer Night＇s Dream

Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem language comparing Shakespeare＇s era and today. Secondly, it puts stress on the effects of emblem traditions on Shakespeare. Lastly, this article aims to shed light on his emblematical language in his Midsummer Night＇s Dream, which is one of his most leading works in terms of having highly visible emblematical interpretations.

Astana＇s Evolution From the Outskirts to the Capital： Name, Emblem, and Territorial Settlement

This article is a research into the history of our town, several times changing its status on its nearly 80-year record. We trace its gradual evolvement from a backwater town into a 21th century capital to piece the picture of our town together from separate puzzles in names and events. The history of our town with its colonial, soviet and post-soviet periods is impetuously losing its two original contexts. The new city was not built anew, from scratch, but was further constructed, extended and novelized. However the first two periods are effaced and pushed to the background, becoming an apophasis. The questions to puzzle out are： Why the town was renamed so many times into Akmolinsk, Tselinograd, Akmola, and Astana; why it had a few emblems on its record; and from which year starts settlement of the territory this modern city currently takes up. Then comes another moot point： How many times was our town＇s status put to question？ Of special interest is street renaming and monuments＇ relocation and the town＇s demographic constituent is no less a serious subject of research. Our town formed through permanent movement of the rural population to it, which concurred with the governmental campaigns in the epoch in question. Urban environment certainly told on inter-relations, and brought about problems. One of them is the problem of tolerance, inevitably arising in any big city. The problem of misunderstanding between the residents of former Tselinograd and present Astana is generation gap. For permanent population＇s rotation practically no urban life traditions have taken on a definite shape among majority of the residents, paradoxical as it is. The population＇s intent to cast off all the colonial and soviet past ended in the loss of representative opportunities of the ＂old＂ town.

Meaning Construction of 2019 Beijing International Horticultural Exposition Emblem from the Perspective of Multimodal Discourse Analysis

The multimodal discourse has been playing a significant role in modern society since its springing-up from the 1990s.Based on the theoretical framework of Visual Grammar(VG)put forward by Kress&van Leeuwen(1996),this study,from the per⁃spective of multimodal discourse analysis,aims at exploring the meaning construction in the emblem of 2019 Beijing International Horticultural Exposition.It is found that an emblem can be interpreted with other modes such as visual image,color and pattern de⁃sign apart from verbal language,which will not only work to participate in the overall meaning construction with mutual interaction,but also analyze how sociocultural background,local customs and humanity spirit are reflected through these forms.

On the Compilation Modes of Local History of Science and Technology——A Case Study of the History of Ba-Shu Science and Technology

The contents of"Ba-Shu History of Science and Technology"take up a single volume of A General History of Ba-Shu Culture.This paper attempts to explore compilation modes of the history of local science and technology by analyzing the compilation of"Shu History of Science and Technology".There are three approaches available,i.e.a general history-based approach,a discipline-based approach and an integrated approach,also known as a discipline-specific approach based on general history.This paper considers the integrated approach to be the most feasible as it elaborates Ba-Shu culture as a sub-culture of Chinese culture,the connotations of Ba-Shu achievements in science and technology,the special significance of the history of Ba-Shu science and technology,as well as the latest progress in studying the history of Ba-Shu science and technology.This paper also puts forward a possible choice to better approach the compilation of the history of local science and technology,reveals areas worth improving,and indicates a proper direction to move towards.

Ten Characteristics of Ba-Shu Culture in the Global Context

First of all, the article identifies the highlights of the documentary The Romantic Shudao.It adopts a panoramic view of the broad Chinese cultural community and depicts the tangible Shudao(road to the Shu area) and the intangible "Romance" associated with it by combining the oral history and collective memory as perceived by common people.The vivid stories can easily reach a wide audience and can thus help to enhance people's confidence in the ever-prospering local Ba-Shu culture.Secondly, the article explains the ten major characteristics of the Ba-Shu culture by looking at the wonderful ecological landscape, the mystical culture and literature, and the magic spiritual aesthetics of the area in an international and modern context.It also studies the Ba-Shu cultural community and the origins, historical development, and main features of the city clusters within the Chengdu-Chongqing economic circle and analyzes the historical and practical values of building a cultural corridor connecting Chengdu and Chongqing.

高校图书馆“馆徽+”文化的实践探索和理论思考--以百年云南大学图书馆为例

文章以云南大学图书馆馆徽设计创意的实践轨迹和图书馆人的心路历程为背景,探究“馆徽+”的视觉文化场景与图书馆文化再造的有机结合方法,探索馆徽设计创意视角下的高校图书馆文化的守正创新路径。馆徽增强了图书馆文化的氛围效果和受众体验,发挥了润物细无声的作用;对馆徽进行与时俱进的迭代重组,对于高校图书馆文化命脉的传承与文化转型发展具有重要意义。

基于徽文化元素的现代文创产品设计研究

文创产品发展成为深受普通民众喜欢的新型产品。文创产品存在的主要问题就是大同小异,意味着文创产品都是千篇一律的,不仅造成了资源的浪费问题,还会给人带来视觉上的审美疲劳,给地域文化传播和弘扬造成了恶劣的影响。在大众消费领域中,文创产品的受欢迎度非常高,需要对文创产品的设计工作给予足够的重视。在徽文化语境里,文创产品设计会从元素符号形式、具体内容和生活观念的角度出发,实现对文创产品设计的科学化和规范化管理,并推动文创产品设计工作朝着更加长远的方向发展。