| 吴佳恒.艺术设计的后现代主义转向与美学特征研究——以首饰设计为例[J].南京邮电大学学报(社会科学版）,2022,(06):93~99 |
| 艺术设计的后现代主义转向与美学特征研究——以首饰设计为例 |
| A study on the postmodernist turn and aesthetic features of art design ——a case study of jewelry design |
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| 中文关键词: 后现代主义 首饰设计 反传统 跨界 |
| 英文关键词:postmodernism jewelry design anti tradition transboundary |
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| 中文摘要: |
| 后现代主义丰富了首饰设计的语言体系，拓展了首饰的功能定义，使首饰具备更多鲜明而独特的艺术特质。首饰设计突破了关注理性与结构的思路，颠覆了由机械与几何形态统治的现代主义设计理念，更为推崇人类的生命关怀与情感诉求，符合“后认知主义”的“具身认知”原则。后现代建筑师跨界进入首饰设计领域后，首饰设计转向概念主义和开放的建筑结构，首饰被称为“可佩戴的雕塑”。基于全新的“空间主义艺术”实践，首饰领域传达出创作为观念表达服务的鲜明设计观念，消解与重构了首饰空间意义的边界。 |
| 英文摘要: |
| Postmodernism enriches the discourse system of jewelry design, expands the functional definition of jewelry, and makes jewelry have more distinctive and unique artistic characteristics. Jewelry design breaks through the idea of focusing on rationality and structure, subverts the modernist design concept dominated by machinery and geometric form, and pays more attention to human life care and emotional demands, which conforms to the principle of “embodied cognition” of “post cognition”. After post modern architects entered the field of jewelry design, jewelry turned to conceptualism and open architectural structure, known as “wearable sculpture”. Based on the practice and exploration of the brand new “spatialism art”, the jewelry field conveys a distinctive design concept of creation serving idea expression, dispelling and reconstructing the boundary of jewelry spatial meaning. |
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