共查询到19条相似文献,搜索用时 265 毫秒
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高山汉是汉族中的一个特殊的族群,是从川、黔、湘、滇、鄂、鲁等地汇集到广西西部的一支汉族支系,生活于滇黔桂三省交界处的群山之间,周围是少数民族聚居区。高山汉的服装沿袭了汉族传统 “上衣下裳”的形制和平面造型的艺术结构;配饰不仅保留传统的艺术表现形式还吸收了周围少数民族的艺术元素;服饰纹样以花朵纹为主,同时结合宗教、鸟兽、梯田、文字等多种纹样;服饰色彩搭配方面以蓝色和黑色为主,并辅以色彩鲜艳的纹饰。整体服饰风格既体现了汉族传统的造型艺术又吸收了周围少数民族的精华;既体现了自身的民族个性又饱含着对生命延续和美好生活的无尽向往,展现出高山汉人们独特的审美观念和精神面貌。 相似文献
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以藏族传统服饰的装饰纹样为研究对象,分析其色彩艺术、图案类别,探讨其在国潮服饰品牌中的应用与发展,以使藏族传统服饰装饰纹样在国潮服饰品牌设计中得以应用和创新,弘扬藏族文化和传统艺术,提增国潮服饰品牌的艺术价值. 相似文献
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《国外纺织技术(纺织针织服装化纤染整)》2021,(1):32-32
丛书内容简介汉族民间服饰谱系系列丛书主编江南大学崔荣荣教授带领研究团队,广泛研习传统纺织印染技法、服装制作技艺、装饰工艺、民俗内涵等,注重对造型、纹样、配饰等设计艺术理论与实践的探索,并将其与服装所蕴涵的历史、社会、心理、美学等文化内涵交叉融合。 相似文献
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原始服饰作为人类服饰发展史的起源,显现出其独特的地位和作用,同时也为后世的服饰演变奠定了基础。在其"生存"的年代里又被其他领域、思想、观念所影响着,由此而被赋予了更加深远的意义。研究了中国原始服饰元素的年代特征和基本内涵,并基于此探讨了传统服饰元素对当代服装设计的影响。 相似文献
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《Textile》2013,11(1):90-95
AbstractThe markings associated with the physical wear and tear of denim garments are an integral aspect of material culture, pursued as creative concepts through deconstructed fashion approaches. For some designers a textile's heritage and the effects of time are as important as reworking silhouettes from history. While fashion is inherently forward thinking, it is the patina of age that comes from “wearing” a garment that can be integral to the designer's artistic vision. Denim garments possess unique possibilities for articulating the human form in ways that transcend the vagaries of the latest cut, through evidencing (or simulating) practices of wearing and concepts of longevity. This paper explores denim's capacity to act as a canvas for the body through analysis of a series of conceptual and commercial approaches drawn from contemporary fashion and textile designers, who have reinforced denim's origins or reinterpreted it through creative experimentation. The study is underpinned by the author's empirical research, which seeks to reveal both the recognizable and more abstract visual qualities embodied within denim as a fashion construct. Denim is evaluated as a surface for conveying complex visual signifiers relating to temporality, demonstrated through the cloth's unique facility to embody narrative and illusion. 相似文献
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曲曼花帽作为新疆和田地区维吾尔族人日常穿戴的服饰品,浓缩了维吾尔工艺美术的精华,极具审美性和文化研究价值,有必要将其传承、沿革并设计应用。本文通过和田地区实地考察和文献书籍资料整合,结合图文互证法对曲曼花帽纹饰形制结构、组成形式及色彩配置进行梳理;提取出核心设计因子,借助分形艺术软件运用牛顿迭代函数将纹饰与数字图形相结合,并提出曲曼花帽分形图案设计模型;再将分形图案运用于现代帽饰设计中,已验证可行性。结果表明:基于分形艺术的曲曼花帽图案设计模型可设计出兼具维吾尔民族特色的分形图案,是一种具有利用价值的创新设计方法。 相似文献
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《Costume》2013,47(1):92-110
AbstractThis article examines the problem of what to wear among Tibetans in Qinghai, China. Starting with recent media coverage, which reported how Tibetan traditional attire is becoming a powerful political statement, I will attempt to illustrate how the dramatic transformations in the way Tibetans dress are not a new phenomenon but an ongoing process of the past ?fty years. From the analysis of people’s narratives and extended participant observation, it emerges that the choice of garments is of real concern to many Tibetan people as it communicates messages about the self and their position in the world. I contend that Tibetan men especially have strategically taken to wearing Western-style suits in an attempt to enact Han Chinese economic success. 相似文献
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为研究浙东地区汉族民间传统腰包的造型文化与制作工艺,对浙江台州刺绣博物馆中49件源自浙东地区的腰包传世藏品进行取样分析发现,浙东腰包主要有兜形和长带2种,并以兜形最为常见。对浙东兜形腰包中占比最大、造型工艺最复杂的A类型腰包的制作工艺进行解析发现,浙东腰包具有结构精巧、装饰素雅的地域风格。精巧复杂的造型结构反映出浙东人民善于构思、独具匠心的地域心理特征,腰包上大量梅兰竹菊、诗词文句等刺绣纹饰反映了本地儒道思想的流行,民间腰包作为传统民俗实用物品既体现了“天有时,地有气,材有美,工有巧”的工艺美术哲学,也承载了传统汉族人民纯真厚实的民俗情感。 相似文献
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云气纹的起源与发展反映了人们对于生命的思考和追求,是时代精神的缩影。汉代云气纹的艺术造型与表达形式对后期中国传统织物纹样设计影响颇深。文章以汉代织物云气纹为研究对象,追溯了汉代云气纹的由来与其形态特征,对其进行重新分类,并运用骨架分析手法对云气纹的构图形式进行分析;总结了古人在运用云气纹时充满幻想的造物手法和赋予云气纹的深刻内涵,尝试从云气纹骨架构成特征和规律角度,结合当代美学和设计法则,对中国传统云气纹的现代应用进行探索性设计,为云气纹的现代应用提供理论支撑依据和实践运用途径参考。 相似文献