【作者】 童彦婷；

【导师】 潘长学； 何方；

【作者基本信息】 武汉理工大学 ， 设计艺术学， 2013， 博士

【摘要】 传统春节是中华民族的第一大节,它在中华文明史上有着重要的地位；传统春节是古往今来人们物质文化生活的综合表现形式,它可以比较全面的反应各个不同时期,不同地域的文化；传统春节是凝结着中国味道的日子,包含着最适合中国人的一种生活感受和情感语言；传统春节是中国人世界观、生命观、价值观综合影响的结果,而传统春节图形符号则是这种结果的外在圆融表达。本文尝试用索绪尔符号学理论中的“能指”与“所指”的范畴作为研究的基础框架,以春节图形的“能指系统”与春节文化“所指系统”为主要研究对象,分六章进行论述：第一章绪论。介绍了课题的缘起,研究的目的、意义,分析了国内外研究现状和本课题研究过程中的重点、难点,并界定了论文涉及的相关概念,说明了论文的研究内容与框架。第二章当代春节图形的传统来源与演变,通过对古代器物装饰及传统纹样的搜索,沿着时间的线索,追寻当代春节图形在古代的样貌和演变的历程,并通过比较城市、乡村不同春节文化的差异,从多层面观察春节图形符号的使用现状。第三章传统春节图形符号的能指系统,本章主要关注传统春节图形符号的表达层面,通过分析传统春节图形符号的物质载体和题材。首先梳理了民间木版年画、民间剪纸、民间织绣与年节的关系,然后对这三大主要物质载体中的传统春节图形符号进行分类,分为人物题材、动物题材、植物题材以及汉字题材。第四章传统春节图形符号的所指系统,本章主要关注传统春节图形符号的内涵层面,力图挖掘出传统春节图形符号最深层次的文化内涵,归纳为四个主要方面：时间意识、原始信仰、伦理道德以及娱乐审美。第五章传统春节图形符号的结构方式,传统春节图形符号由能指与所指构成,可传统春节图形符号的能指与所指之间是如何联结在一起的呢?主要通过下面四种结构方式：标识、象征、谐音与再现。第六章结语,文章的最后进行了三方面的分析与总结：春节图形符号承载着中华民族深层的文化心理,春节图形符号的特殊形式语言,春节图形符号的现代适应与创新,展望了研究课题的发展前景,确定了下一步的研究目标。传统春节保留了中华民族文化最具表现力的一面,是在人与自然的交流过程中逐渐形成的一种特殊的生活方式。在情感上,我们注定需要这种绵延下来的精神力量,我们需要纪念、需要寄托、需要快乐。本论文采用新的研究方法,将能指与所指理论用于春节符号系统的研究,得到了对研究对象的新的认识,并且能为目前正在从事传统文化研究,工艺美术等研究的研究者们提供一种研究的新思路。更多还原

【Abstract】 The traditional Spring Festival is the largest festival of the Chinese nation:It has an important position in the history of Chinese civilization; It synthetically performance people’s material and cultural life through the ages, andean comprehensively revealcultures in different times and different region;It is the days that condense the Chinese style, reflect the most suitable feeling of life and emotional language for Chinese people;it is thecommonresult from the effects of the view of the worldlife and values. For this result, the traditional Spring Festival graphic symbols express it naturally and externally.In this paper, we use one research framework based on Saussure’s theory,choose the"refers to the" of Spring Festival graphics and "within the meaning of of Spring Festival culture as the main research object.From the point of view of design and semiotics, seven chapters are discussed:Chapter one is introduction:introduced the origin, purpose, significance of the study, analyzed the domestic and abroadresearch status, and key and difficult point.This part also introduced related concept, and elaborated the research content and framework of the thesis.The second chaptertalked aboutthe origin and evolution ofgraphic symbolsfor contemporary New Year.Along the time clues,for the spring festival patterns, this paper explored itsancient representation and evolution course, by the search of the decoration and traditional patterns of ancient artifacts.And we also observedthe using status of Chinese New Year graphical symbols from the multi-faceted,by the corporationof the Spring Festival cultural differences between cities and rural areas in different areas.The third chapter discussed the classification and characteristics of the traditional Spring Festival graphical symbols.The graphical symbolswere divided into four parts: to avoid fierce and pray for good luck graphics; gradually decline the new costumes graphics; the homonym symbol of wishing graphics; endless rotary Zodiac graphics.We also combed and summarizedthe main features of different types of graphic symbols, which made foundation preparation for the later chapters.The fourth chapter is about the performance techniqueof the traditional Chinese New Year graphics.On the basis of Chapter three, we classified the Chinese New Year graphics according to functional theme for four categories:disaster prevention in evil, pray Fonagy, reproduction of life, for the fiscal imperative officer.Then, we studied the formal language of the traditional Spring Festival from the point of view of design:such as the Spring Festival symmetrical and full graphics composition, traditional unique color, rich and vivid shape and so on.At last, we did a simple exposition for the artcarrier of traditional Chinese New Year Graphics, focused on exploring the relationship between the graphics and their carrier.The fifth chapter discusses the nature and symbolism of the traditional Spring Festival graphical symbols.This chapter gave an essential analysis for the traditional Spring Festival graphics,under the situation that put it intothe cultural system of Spring Festival, and used the removing the old theme and welcoming new theme as main clues.Based onthe theme classification in thefourth chapter ofgraphics, we deeply explored the culture nature and symbolism of the of the traditional Chinese New Year graphics.Chapter six is about the characteristics of the traditional Spring Festival graphical symbols:based on theories of Cassirer’s cultural semiotics and Susan Lange’s art semiotics,this chapter expandedthe research about visual symbols and artistic symbol features of the traditional Spring Festival; from the view of functional structure, semantic structure of the Spring Festivalgraphics, discussed the characteristics of symbols for both "symbology system"and the Chinese nation "public contract" symbol; focus onthe folk beliefs and social values of the Chinese New Year cultural, it also displayed the characteristics of the end sacrifice of the year, the worship of multiple God, and"the letter code" whichas a ceremonial symbol of traditional Chinese culture.For further study, we talked about theartisticcharacteristics of graphic symbolsfrom suchaspect:emotional expression, artistic expression, aesthetic implication, and so on.Chapter7is Conclusion. This chapter gave a comprehensive summary of the research, and did a simple statement about the application of traditional Chinese New Year graphics on the contemporary graphic design. The traditional Spring Festival remains the most expressive facet of the culture of the Chinese Nation;it is a special way of life that gradually formed in the communication between man and nature.Emotionally, we are destined to need this kind of successive spiritual strength; we need to commemorate, sustenance, and need happiness.更多还原