外文翻譯工業(yè)設(shè)計(jì)-全文預(yù)覽
【正文】 s of certain utility. Xing is extrinsic and concrete, qi is intrinsic and functional, and dao is metaphoric and intentional. These three elements are three essential factors that posed utensil designing and shaped the traditional Chinese design system. Hence utensils embodied the ancients’ cognition on formal beauty through not only apparent beauty but also through conveying intangible objects by means of tangible objects, thereby breaking through the general material significance of utensils and achieving mental artistic conception of pursuing the value of life. There was an allusion in ancient China. The ancients discovered in their experience in grinding and manufacturing utensils that some to。 unity of perceptual manifestation and rational norms, the unity of craftsmanship and the construction of artistic conception. 3. The traditional Chinese creation art ideology of “utensils are meant to convey truth” The ideology of “utensils are meant to convey truth” were often applied in traditional Chinese creation art, and this ideology embodies the semantic values of traditional Chinese design culture. It is written in The Book of Change spokes symbolize thirty days in each month。 music is the core of China’ thousands of years’ political systems, and this concept is deeply stamped with the brand by China’s traditional system of creation art. There were always patterns which stood for some meaning on traditional Chinese utensils, thereby systematizing utensils via the system of Chinese rites amp。 dancing and mediumistic rites were getting more and more plete and finally became divided. In the times of Western Zhou Dynasty, the rulers of this dynasty represented by Chou Kung inherited and perfected this and finally systematically established a fixed system related to Chinese rites amp。 material demands of the people of the new era. According to literature available and investigations into material objects, the following fundamental features of traditional Chinese ideology can be summarized: 1. The foundation of traditional Chinese ideology “system of Chinese rites amp。 朗格 .藝術(shù)問題 . ［ M］江蘇：南京出版社， 2020. ［ 8］張道一造物的藝術(shù)論 .［ M］福建：福建美術(shù)出版社， 1989. ［ 9］阿木爾巴圖 . 蒙古美術(shù)研究 .［ M］沈陽：遼寧民族出版社， 1997. ［ 10］蓋山林 .絲綢之路草原民族文化 .［ M］烏魯木齊：新疆人民出版社， 2020. ［ 11］滿都夫蒙古族美學(xué)史 .［ M］沈陽：遼寧民族出版社， 2020. ［ 12］王海霞 .中國民間美術(shù)社會學(xué) .［ M］江蘇：江蘇美術(shù)出版社， 1995. The Enlightenment of Traditional Chinese Ideologies on Modern Industrial Design Abstract: The 21st century is a century of design. Industrial design has entered people’s daily life as an effective method of planning more reasonable conduct of life for people, which plays a very important role in coping with the relationship between humans, society and environment. Traditional Chinese ideology has a profound influence on China’s antique utensils and architecture. Meanwhile, it has provided sources of ideas for modern industrial design. It integrated many traditional ideologies of creation art including mental concepts, value systems, standards of conduct and ethnic styles and features together with the design concepts, modes of thinking and social fads, with which to take the form of a set of design ideas which is possessed of native ethnic cultural characteristics based on elegance amp。 結(jié)語 : 工業(yè)設(shè)計(jì)是為工業(yè)生產(chǎn)服務(wù)的，它是連接人、產(chǎn)品、環(huán)境、社會和自然的中介，設(shè)計(jì)要具有普遍性，才能為大眾所接受。隨著 “ 民族的才是世界的 ” 的呼聲把人們開始再次重視傳統(tǒng)文化理念對于設(shè)計(jì)的獨(dú)創(chuàng)性和精神價(jià)值的重要作用。宋瓷的藝術(shù)意境，從其造型、裝飾和藝術(shù)形象中寄托了內(nèi)在的寓意，如宋瓷含蓄的造型和釉色，象征著一種空靈、靜寂境界，代表了“ 玉境 ” 的文人風(fēng)范，體現(xiàn)了中國藝術(shù)以形寫神、寓意深刻的特征和恬淡、含蓄、委婉的東方情調(diào)。 而中國傳統(tǒng)瓷器藝術(shù)更是中國藝術(shù)講究完整、圓滿、和諧、氣韻、意境的體現(xiàn)。所以信奉神玄之鳥的華夏先民，最愛用溫潤美玉雕刻抽象的或者具象的飛鳥，如紅山文化的勾云形佩及山東龍山文化玉圭上的鷹紋等。 中國古代歷史上有 “ 以玉比德 ” 的典故。 系辭上》曰： “ 是故形而上者謂之道，形而下者謂之器。 由此可見，中國人與自然同構(gòu)的信仰影響到精神文化、物態(tài)文化、行為文化、制度文化等各個層面。此外，天壇的欄桿闌版也以九遞增，上層九塊、中層十八塊、下層二十七塊。 ” 車蓋和車廂的造型比喻 “ 天圓地方 ” ，十三條輻象征日月的交替運(yùn)動，二十八條傘骨象征二十八條星宿?！犊脊び洝分嘘P(guān)于車的設(shè)計(jì)與制作有過這樣的描述： “ 軫之方也，以象地也。天然粘土制成的陶器，是中國古代人們?nèi)粘Ｉ钪惺褂米顬槠毡榈钠骶?。春秋?zhàn)國《考工記》中有如下記載： “ 天有時，地有氣，材有美，工有巧。這種世界觀能夠以寬厚包容的眼光來看待萬物，以兼容并蓄的精神和悲天憫人的胸懷審視實(shí)踐改造的對象，師自然與人類和諧共生。 ”“ 天地有大美而不言 ”, 這里的天是指自然。《易傳》說： “ 天行健，君子以自強(qiáng)不息 ? 天地之大德曰生 ” 。這一思想在儒、道、釋等諸家言論中皆有體現(xiàn)。 古代社會，尊卑貴賤各有等第，造物就是等級制度的物質(zhì)體現(xiàn)，從材料到品種，從圖案到配色，高下有別，不可逾越。 在 “ 禮樂 ” 制度的影響下，古代造物藝術(shù)色彩不在
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