摘要
英国工艺美术运动时期,大批设计师、评论家对建筑、工艺品与装饰的关系展开了讨论,促进了纹饰设计的多样性。中国纹饰在17、18世纪的西方尤其是英国广为传播,随后“中国热”逐渐衰退,直到19世纪中期,大量优质珐琅瓷的输入让中国纹饰再次得到英国社会的接受。欧文·琼斯对包括中国在内的世界各地纹饰的整理分析,不仅促进了纹饰史的研究发展,更是在实践上影响和指导了英国现代设计对中国纹饰的应用。同时,间接指明了英国对东亚文物收藏的历史以及当时主流设计界对这些文物的态度,使公众得以重新认知东西方交流下的纹饰设计形态。
During the British Arts and Crafts Movement,many designers and critics discussed the relationship between architecture,crafts and decoration,which promoted the diversity of ornament design.Chinese ornament was very popular in the 17th and 18th centuries in the West,especially in Britain,but then“Chinoiserie”began to decline.Until the mid-19th century,due to the input of many high-quality enamel porcelain,Chinese ornament has been accepted by British society again.Owen Jones’s analysis of the ornament of the world,including China,not only promoted the research and development of the history of ornament,but also influenced and guided the application of British modern design to Chinese ornament in practice.At the same time,it indirectly pointed out the history of the British collection of East Asian cultural relics and the attitude of the mainstream design community towards these cultural relics,making the public re-understand the ornament design pattern in the communication between East and West.
作者
白石
胡飞
BAI Shi;HU Fei(School of Art and Design,Bengbu University,Bengbu Anhui 233030,China)
出处
《湖北第二师范学院学报》
2020年第7期55-60,共6页
Journal of Hubei University of Education
基金
安徽省高校优秀青年人才支持计划重点项目(gxyqZD2019081)
安徽高等学校省级质量工程重大项目“新时代背景下新文科建设发展的探索”(2018jyxm0703)。
