摘要
从设计史的视野来观察,明清天主教在将教义从精英阶层推向大众,从士大夫阶层普及到整个社会的过程中,作为传播媒介的设计和印刷起到了至关重要的作用。经过一系列视觉元素的有效传播,天主教图像和中国本土图像的距离逐渐缩短,极大地拉近了国人与西方宗教之间的心理距离。当这种外来的视觉元素、艺术形式及工艺技术作为一种视觉语言进入到世俗社会后,就渐渐独立于天主教信仰的层面,迅速在世俗社会中得以普及。在天主教传教过程中,无论是自觉还是不自觉地运用了这种形式,都满足了在晚清民国时代历史巨变的时期中,普通民众对于西方文化猎奇的需求。在这个过程中,土山湾孤儿美术工艺院起到了重要的媒介推手的作用。在这里成长起来、走向社会的孤儿因为取得了不同的成绩,成为土山湾孤儿美术工艺院早期能够不断吸引人加入其中的重要因素。在当下更加重要的是应正视土山湾孤儿美术工艺院作为一所职业美术教育机构在中国美术和设计史上应有的地位。
From the perspective of design history,the design and the printing as communications media have played a vital role in the process of spreading the Catholicism in Ming and Qing dynasties from the elite class to the public and from the scholar-official class to the entire society.Through the effective dissemination of a series of visual elements,the distance between Catholic images and China native images has gradually diminished,which has greatly shortened the psychological distance between Chinese people and this western religion.When this kind of external visual elements,art forms and craftsmanship as visual languages entered the secular society,they became independent of Catholic faith and quickly became popular in the secular society.In the process of Catholic mission,these visual languages were used to meet the ordinary people’s demand for western culture in a precarious period of late Qing Dynasty and the Republic of China.In this process,T’ou-Se-We(1864-1958)played an important role as a media promoter.Orphans who grew up and enter the society in T’ou-Se-We have achieved satisfactory results,which has become an important factor for T’ou-Se-We to attract people to join in the early days.What is more important now is that the rightful status of T’ou-Se-We as a professional art education institution in the history of Chinese art and design should be acknowledged.
作者
胡艳玮
HU Yanwei(Changwuzhi Culture Communication(Beijing)Co.,Ltd.,Beijing 100029,China)
出处
《工业工程设计》
2021年第6期1-9,共9页
INDUSTRIAL&ENGINEERING DESIGN
关键词
美术
设计
印刷
中国化
土山湾
art
design
printing
localization
T’ou-Se-We
