论文部分内容阅读
何谓设计“设计学”?柳冠中教授对此进行了深入系统的论述。他认为:将“设计”视作一门科学的、系统的、完整的体系,即设计(研究)“设计学”——“人为事物”的科学的方法论。这种观念将“设计”视作一门科学的、系统的、完整的体系和方法论,这在当今知识经济时代的到来,为根本解决地球生态环境正在严重被破坏。人类面临自我毁灭还是走经济持续发展的关键历史时刻具有革命性意义,这无疑是对工业时代以来的工业设计从理论及方法的一场“设计革命”。 为纪念我国著名美术家、艺术教育家林风眠(1900—1991)先生诞辰100周年,陈醉研究员在《思考林风眠》一文中认为,20世纪的中国艺术发生了根本变化,其重要标志是西洋画作为一个艺术门类真正在中国扎下了根,并且还培养出了自己的队伍;在中西艺术的碰撞过程中,传统中国绘画也得到了长足的发展,出现了包括林风眠在内的几位大师级的艺术家。下一个世纪中国艺术将是何种模样,恐怕谁也难以画出一个蓝图。但有一点是可以肯定的、那就是必将更加丰富多彩。然而,越是更加丰富多彩,就越是要民族的精神、民族的趣味。汪涤先生以丰富的史料记述1949到1966年林风眠艺术创作高峰时期对新中国美术所做的贡献和新中国的文化氛围对他的创作的影响,表明他时刻关注美术界的动态,?
What is the design of “design”? Professor Liu Guanzhong in-depth discussion of this system. He believes that “design” as a scientific, systematic, complete system, that is, design (research) “design” - “human things” scientific methodology. This concept regards “design” as a scientific, systematic and complete system and methodology. This is the fundamental solution to the terrible destruction of the earth’s ecological environment in today’s era of knowledge economy. It is of revolutionary significance for mankind to face the crucial historical moment of self-destruction or sustained economic development. This is undoubtedly a “design revolution” in theory and methodology for industrial design since the industrial age. In commemoration of the 100th anniversary of the birth of Lin Fengmian (1900-1991), a famous artist and art educator in China, Dr Chan drunkard believes that there has been a fundamental change in Chinese art in the 20th century. The important symbol of Western art is that Western painting An art genre has really taken root in China and has also cultivated its own team. During the collision of Chinese and Western art, traditional Chinese painting has also made great strides, with the emergence of several masters, including Lin Fengmian artist. The next century, Chinese art will be what kind of appearance, I am afraid it is difficult to draw a blueprint. But one thing is for sure, that is bound to be more colorful. However, the more rich and colorful, the more it requires the spirit of the nation and the taste of the nation. With rich historical materials, Wang Di records the contribution of Lin Fengmian’s art creation to the new Chinese art from 1949 to 1966 and the influence of New China’s cultural atmosphere on his creation, showing that he always pays attention to the dynamic of the art world.