水墨山水構圖應用於文具造型設計

Abstract

水墨山水繪畫的獨特性在於繪畫體系中自成一格，講究筆墨、風格、意境的山水繪畫於視覺上與西方風景繪畫截然不同。文化商品能傳達文化不同面向的特性與層次，滿足物質需求後進一步滿足精神需求，亦而商品價值由使用價值轉至象徵價值。在文化商品興盛的同時，應注意文化符號的運用與轉譯，不應只是落於形體複製或圖像轉移，促使文化商品能扮演文化傳遞的功能。 本研究透過文獻探討了解文化商品、符號以及水墨山水繪畫相關理論與研究。並透過案例分析歸納出山水繪畫構圖形式之畫面元素、空間呈現、構圖組合，應用至文具造型創作。使文具產品具有水墨山水繪畫構圖特色。 依文獻研究結果進行水墨山水構圖文具造型設計，並提出文化商品創作流程，透過對於文化的深入探討與提出文化符號後，進行擷取、運用於文化商品設計之上。文化與商品之間需進一步考慮兩者間的契合度與符號轉化及再造，文化符號在於瞭解其組合與意義後置換元素或重新詮釋形體，亦能表現出文化特性與風貌，進而創造出兼具文化與使用價值的文化商品。 本研究主要結論有：（1）文化包含範圍廣泛，因此文化商品的文化取材範疇可以相當多元，而透過文化層次分層將文化與文化商品屬性進行分層對應，可協助進行轉換應用思考。（2）對角線、平行線構圖的使用元素較為固定、簡單，而中軸線、中分線、Ｓ形構圖經常穿插大量且多元元素。（3）中軸線、中分線、Ｓ形構圖普遍運用俯視深度空間與仰視高度空間來呈現，而對角線、平行線構圖多為呈現俯視的深度空間為主。（4）中軸線、中分線、Ｓ形構圖在於畫面組合上多運用大量山石向上堆疊，對角線與水平線構圖畫面山石則呈現平緩、簡單的左右延伸發展。（5）文化商品從文化本身作為延伸聯想出發與透過符號的轉化與再造，能使文化商品跳脫文化原始形式、形體，亦能表現出文化特性與風貌。（6）另提出一文化商品創作新流程，供設計者從事文化商品創作時之參考。Chinese landscape painting is unique and visually distinguished from western landscape painting by its special touch of brushwork, ink, style and prospect. Cultural product expresses different specialties and levels of culture. It fulfills not only material, but also spiritual needs. At the same time, the product’s symbolic value exceeds its practical value. Using Cultural product as a cultural bearer should be cautious on symbol annotation and application, avoiding simply shapes or images copy. In this research, the literature review helps the understanding of the relating theories between Cultural product, symbol and Chinese landscape painting. With case studies, picture elements, space presentation and composition combination of Chinese landscape painting are generalized and applied to stationery design intending to create Chinese landscape painting characterized cultural commodities. The result of the research is applied to designing Chinese landscape painting composition characterized stationery and presents the process of creation. With profound research, the selected symbols can be used in designing cultural commodities. Considering the compatibility of cultural and commodity, the symbols are transformed and re-created to ensure the cultural and practical value of the commodity. With the designer's familiarization with the culture symbols combination, even though the elements are replaced or the shapes are re-created, the commodity still presents the features and style of the culture. The conclusions of this research are as follows: (1) The various forms of culture provide a large number of design elements for culture commodity, therefore, the analysis of culture levels and commodity attribution helps transforming the designing thinking. (2) Diagonal and parallel compositions contain simple and common elements, but central axis, central parting axis and “S”-shape compositions usually contain a large number and various elements. (3) The downward view to depth of space and upward view to height of space are usually applied in central axis, central parting axis and “S”-shape compositions. In Diagonal and parallel compositions mostly use the downward view to depth of space. (4) In central axis, central parting axis and “S”-shape compositions, a large number of rocks are often stacked up and precipitous. But rocks sweep gradually and horizontally in diagonal and parallel compositions. (5) With the transforming of the symbols and designing thinking, the commodity frees itself from the original shape and form and presents the feature of the culture. (6) A new creation process is provided as a reference for Cultural product designers.