定 價(jià):45 元
叢書(shū)名:高等院校設(shè)計(jì)學(xué)精品課程規(guī)劃教材、高等職業(yè)院校設(shè)計(jì)專業(yè)規(guī)劃教材
- 作者:彭雁
- 出版時(shí)間:2014/4/1
- ISBN:9787534460609
- 出 版 社:江蘇美術(shù)出版社
- 中圖法分類:H319.4
- 頁(yè)碼:
- 紙張:膠版紙
- 版次:1
- 開(kāi)本:16開(kāi)
《藝術(shù)設(shè)計(jì)專業(yè)研究生英語(yǔ)選讀》介紹設(shè)計(jì)藝術(shù)學(xué)又叫藝術(shù)設(shè)計(jì)學(xué)是設(shè)計(jì)類專業(yè)里唯一一個(gè)有博士學(xué)位的方向它的前身是工藝美術(shù)專業(yè)。藝術(shù)設(shè)計(jì)學(xué)的培養(yǎng)目標(biāo)是培養(yǎng)具備藝術(shù)設(shè)計(jì)學(xué)教學(xué)和研究等方面的知識(shí)和能力,能在藝術(shù)設(shè)計(jì)教育、研究、設(shè)計(jì)、出版和文博等單位從事藝術(shù)設(shè)計(jì)學(xué)教學(xué)、研究、編輯等方面工作的專門(mén)人才。作為一門(mén)新建立的學(xué)科設(shè)計(jì)藝術(shù)學(xué)是建立在設(shè)計(jì)實(shí)踐基礎(chǔ)上的應(yīng)用性很強(qiáng)的藝術(shù)學(xué)科,重在設(shè)計(jì)藝術(shù)歷史與理論及設(shè)計(jì)藝術(shù)實(shí)踐的研究。其內(nèi)涵是按科學(xué)與藝術(shù)相互促進(jìn)的發(fā)展規(guī)律,創(chuàng)造生活、美化生活、豐富生活、充實(shí)生活。藝術(shù)設(shè)計(jì)又是一門(mén)開(kāi)放性的學(xué)科,其目標(biāo)是在造物活動(dòng)中實(shí)現(xiàn)實(shí)用功能與審美理想的統(tǒng)一,在現(xiàn)代社會(huì)人們的物質(zhì)生活與精神生活中發(fā)揮重要作用。
Section A
中國(guó)的藝術(shù)設(shè)計(jì)
引言:西方對(duì)中國(guó)藝術(shù)的研究
Unit1
中國(guó)設(shè)計(jì)傳統(tǒng)
Part A
中國(guó)藝術(shù)設(shè)計(jì)的對(duì)稱性
延伸閱讀
中國(guó)藝術(shù)與文化
Part B
中國(guó)歷史背景
延伸閱讀
頻危的中國(guó)傳統(tǒng)工藝美術(shù)
Part C
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Craftsmen must attend to standards because the artifacts they make often go to the "better" sorts of people; if not gods, then perhaps nobility, or if not nobility, then at least to the wealthy.
God imposes a formal standard against which human worth can be measured -if a sphere is perfect, then everything else is more or less a mistake. Among humans too, some are more perfect than others - men more than women, for instance - and so it was male warriors who set the standard of humanity in Plato's day. Crafting presupposes scales of worth, and these can specify how one person relates to another. One of the most common examples of the crafting of "persons" is to be found in the use of ornamental designs. All over Eurasia, from Spring and Autumn period of China (770-476 BC) to Tudor England, graphic insignia defined a nobleman's prerogative both in ceremony and in ordinary life. Sometimes cultures find ways to inscribe even complex relationships in gra.phic patterns. The state of being married or non-married, chief or subordinate, is a function of one person's relative dependence upon another. Relations such as these can be translated into geometric designs that can both reduplicate and reinforce the social order in ceremony or in more binding sorts of relations. Graphic patterns, in other words, can serve as paradigms of social order. Here, the word "paradigm" is rooted in its origin in the crafting process, referring to a model or pattern that embodied in visual form a scale of value. That scale ultimately defined a hierarchy of human worth and so could specify degrees of agency in individuals. Bearing this in mind, it would be difficult to think of a better term of those examples of graphic order that scholars have found to be in active dialogue with social organization.
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