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邂逅名畫中的珠寶

Painting and jewelry are two forms of artistic expression with extraordinary visual and aesthetic expressive power. Even though they were born in different times and cultures， they are ultimate embodiments of people’s creativity and aesthetic pursuit.繪畫與珠寶，這是兩種極具藝術(shù)性的表達(dá)形式，它們?cè)谝曈X(jué)和審美方面都有著非凡的表現(xiàn)力，即便是在不同的時(shí)代和文化中誕生，但它們都是人類在創(chuàng)造力和美學(xué)追求的

程曉蕓
我國(guó)非物質(zhì)文化遺產(chǎn)博物館的展陳導(dǎo)向

Compared with the traditional museums， the Intangible Cultural Heritage Museum’s business functions such as exhibition， display， publicity and education are changing， making it an important proposition to explore the exhibition direction of the Intangible Cultural Heritage Museum. Therefore， in the new era， intangible cultural heritage museums need to take advantage of their exhibition advan

孔令平
點(diǎn)化青田山川融入海派文化

上海工藝美術(shù)在全國(guó)是首屈一指的，作為融入海派文化的青田石雕要向玉雕、石雕、竹雕、木雕等其他同行認(rèn)真學(xué)習(xí)，創(chuàng)作出具有上海特色的“人無(wú)我有、人有我精、人精我絕、人絕我新”的海派青田石雕作品來(lái)

吳松林
“國(guó)潮”趨勢(shì)下現(xiàn)代首飾設(shè)計(jì)的傳承與賦新

老鳳祥古法藏寶金《平安虎》系列（圖5）由中國(guó)工藝美術(shù)大師、國(guó)家級(jí)非遺傳人張心一設(shè)計(jì)，以虎符文化為基礎(chǔ)，提煉經(jīng)典元素，虎符元素具有平安、權(quán)力的寓意，通過(guò)對(duì)古代虎圖騰的藝術(shù)詮釋，造就了平安符的不凡氣勢(shì)，卷云紋寓意吉祥安康

周穎
海派玉雕花鳥的“寫生”意識(shí)

In order to reveal the technological characteristics and cultural connotation in “l(fā)ifelike style” awareness of Shanghai-style jade carvings of flowers and birds， this article analyzes the characteristics of“l(fā)ifelike” awarenessand the craft manifestations in jade carvings of flowers and birds.Through the research on representative works of Shanghai-style jade carvings of flowers and birds， thi

吳曠
貴州黔東南苗族刺繡視覺(jué)設(shè)計(jì)探索

Miao embroidery is a traditional Miao folk art. This ancient art form has high artistic value and profound cultural connotation， and is known as the“wordless history poem of the Miao ethnic group.”Starting from the embroidery craftsmanship of the Miao nationality in Southeast Guizhou Province， the author studies the artistic characteristics of Miao nationality embroidery from the perspective of

溫柔佳
集傳統(tǒng)工藝與當(dāng)代科技審美于一體

無(wú)錫靈山梵宮《華藏世界》是佛教藝術(shù)與工藝美術(shù)創(chuàng)新的經(jīng)典之作，8米×10米的琉璃壁畫幕墻由40余塊色彩、浮雕各不相同的琉璃構(gòu)成，每塊琉璃重達(dá)200公斤，從手工泥塑塑形、制作硅膠模、蠟?zāi)?、耐火石膏模、到最后窯燒鑄造

施森彬
蔓延與分離

本文試從非專業(yè)領(lǐng)域文本解讀當(dāng)代藝術(shù)作品，探索從植物生物學(xué)視角出發(fā)的創(chuàng)作思路。通過(guò)對(duì)巴西藝術(shù)家瑪麗亞·內(nèi)波穆切諾（Maria Nepomuceno）和日本陶瓷藝術(shù)家西川優(yōu)子（Yuko Nishikawa）作品的發(fā)散性解讀，找到當(dāng)代藝術(shù)作品與跨領(lǐng)域文本的聯(lián)結(jié)之處，探索當(dāng)代藝術(shù)家跨領(lǐng)域文本的創(chuàng)作路徑，理解和構(gòu)建作者、文本、作品之間的關(guān)聯(lián)。一、當(dāng)代藝術(shù)創(chuàng)作視角的轉(zhuǎn)變?cè)诮?jīng)過(guò)20世紀(jì)70年代，后現(xiàn)代主義對(duì)藝術(shù)界的洗禮與釋放后，藝術(shù)創(chuàng)作打破了固有

張怡然
中國(guó)傳統(tǒng)年畫的當(dāng)代應(yīng)用探索

一、中國(guó)傳統(tǒng)年畫工藝年畫，以“年”得名，以“畫”為生，表達(dá)了人們對(duì)新一年的期盼。它不像其他畫那樣，受到制作方法的界定，在材料和制作方面，可以用任何一種材質(zhì)進(jìn)行作畫，表現(xiàn)方法也是形色各異。其中，最為著名的是桃花塢年畫、楊家埠年畫、楊柳青年畫、朱仙鎮(zhèn)年畫等。“天津楊柳青木版年畫”為北方年畫的代表，整體線條工整，色彩鮮艷，同時(shí)善用漢語(yǔ)中的諧音寄托人們心中的美好念想;“蘇州桃花塢木板年畫”為江南地區(qū)的年畫代

夏寸草高婉茹
人工智能驅(qū)動(dòng)的工業(yè)設(shè)計(jì)教育協(xié)同發(fā)展模式研究

工業(yè)設(shè)計(jì)發(fā)展離不開技術(shù)革新，在人工智能驅(qū)動(dòng)下的服務(wù)主導(dǎo)邏輯（SDL）促進(jìn)設(shè)計(jì)教育為適應(yīng)多元化用戶需求、網(wǎng)絡(luò)化運(yùn)作模式而更新，探索與時(shí)俱進(jìn)的教學(xué)方法和教學(xué)方向，培養(yǎng)適應(yīng)時(shí)代需求的新型人才。通過(guò)“智創(chuàng)（智能創(chuàng)意發(fā)想）”“智聯(lián)（智能功能聯(lián)結(jié)）”“智造（智能產(chǎn)品制作）”三維度概述人工智能藝術(shù)設(shè)計(jì)的新現(xiàn)象，并從設(shè)計(jì)教育的教學(xué)目標(biāo)、教學(xué)模式、教學(xué)學(xué)情、教學(xué)過(guò)程、教學(xué)內(nèi)容和教學(xué)評(píng)價(jià)方式方面提出設(shè)計(jì)教育創(chuàng)新模式?！吨?/dt>

章文
沉睡千年美人魚

More than 60 000 cultural relics are recovered from the shipwreck of “Batu Hitam”， including ceramics， porcelains， gold and silverwares， glasswares， bronze wares， lacquerwares， timber， ivory， coral，other gems and jewels， lead blocks and other types of ores. Although the porcelains has been asleep at the bottom of vast seaover a millennium， they still maintainthe intact status.唐代是中

鐘翟
民間信仰對(duì)閩南僑鄉(xiāng)聚落街巷空間變遷影響

This article takes the overseas Chinese settlements in southern Fujian as the research object， with focus on folk beliefs， ritual activities， clan system and related ritual space in the settlements.From the perspective of “Folk Custom—Space”， this article explains evolution characteristics of overseas Chinese settlements in southern Fujian Province， analyzesthe impacts of folk beliefs and a

劉瑾魏秦
由禮及器:宋代花器的仿古現(xiàn)象

宋代仿古花器深受宋理學(xué)“器道統(tǒng)一”思想的影響，不僅是盛花的器皿更蘊(yùn)含了傳統(tǒng)文化精髓。本文立足于宋代文人插花范疇，以宋仿古花器為研究對(duì)象，對(duì)其歷史文脈進(jìn)行系統(tǒng)梳理，歸納和分析其設(shè)計(jì)的規(guī)律性，造型，對(duì)比國(guó)內(nèi)外博物館的同類文物，結(jié)合文獻(xiàn)與器物，解析宋代仿古花器與宋文人生活的關(guān)聯(lián)；對(duì)代表性的仿古花器的造型來(lái)源、演化與設(shè)計(jì)規(guī)律進(jìn)行分析，并對(duì)宋人造物的思維建構(gòu)邏輯進(jìn)行初步的探討，為當(dāng)代器物的設(shè)計(jì)開發(fā)提供可參考的

倪獻(xiàn)鷗
彝族文化元素與當(dāng)代首飾設(shè)計(jì)

在全球化快速發(fā)展的背景下，傳統(tǒng)文化與現(xiàn)代設(shè)計(jì)的結(jié)合正成為一個(gè)趨勢(shì)。這種融合不僅為文化傳承提供了新的視角，還豐富了設(shè)計(jì)語(yǔ)言。作為表達(dá)和文化象征的載體，首飾已成為跨文化創(chuàng)新實(shí)踐的重要媒介。以彝族為例，將彝族文化元素有效融入現(xiàn)代首飾設(shè)計(jì)，不僅為設(shè)計(jì)帶來(lái)靈感源泉，也加深了對(duì)文化多樣性的理解與尊重，從而推動(dòng)民族文化遺產(chǎn)的保護(hù)和現(xiàn)代設(shè)計(jì)的創(chuàng)新發(fā)展。一、彝族文化概述（1）語(yǔ)言和文字彝族語(yǔ)言屬于漢藏語(yǔ)系藏緬語(yǔ)族彝語(yǔ)

林紫淳
砣飛輪雕

Jade carving is a special technique with strong handicraft savor， which is the product of art， science and technology in one. Commonly used equipment， tools and accessories are the material means for jade carvers to carry out artistic creation.Its development marks the degree of integration between jade carving art and contemporary science and technology.有句俗語(yǔ)說(shuō)道：師傅領(lǐng)進(jìn)門，修行在個(gè)人。從工

祝天翔
月文化元素與現(xiàn)代日用陶瓷設(shè)計(jì)

On the basis of reconstruction and analysis of traditional moon culture elements， connotation and extension are grasped. Efforts are made to take full advantage of the characteristics of Dehua White Porcelain， demonstrate the artistic conception of traditional moon culture， and achieve conversion and application of traditional moon culture elements in design of modern ceramics for daily use.改革

孫梓釗
唯有玉龍

我們的先民十分尊崇、敬畏神龍，認(rèn)為自己是龍的傳人，為了得到龍的護(hù)佑，與龍形影不離，還創(chuàng)造了紛繁造型、各種質(zhì)地的龍的文物。很偶然，筆者在研究過(guò)程中，發(fā)現(xiàn)各種材質(zhì)的文物中，只有玉龍是我國(guó)唯一自新石器時(shí)代一直陪伴了我們七千多年的吉祥物（圖1）。更有價(jià)值的是，玉龍?jiān)诮忾_中國(guó)龍文化的起源、形成及與其他文物的互鑒方面意義重大。一、機(jī)緣巧合喜獲真?zhèn)髦袊?guó)玉龍精彩紛呈綿延久遠(yuǎn)，是考古發(fā)現(xiàn)和傳世文物研究中的重要課題。隔

張明華
傳統(tǒng)年畫中五子圖像的地域造型藝術(shù)探究

Image of Five Children are mostly found in the New Yearpaintings， which is an eye-catching expression in thiskind of image， forming its own style and showing thevaried patterns of praying for the children and happy life.Such image has been widely spread and applied in manyregions and social classes. By comparing the image of fivechildren in different regions， this article tries to give shapeto c

朱喆　賈高飛
探尋海派建筑之美

Buildings mirrors the evolution of a city and changingneeds of the people. These needs change over time. Themaintenance， renovation and reuse of historic buildingsare inevitable processes， with the evolution of the threegenerations of Lyceum Theatre as a good example. Withretrospect to the development of the three generations ofLyceum Theatre， people can understand the ways thisbuilding is conti

高韻之
玻璃燈工燒制工藝工具的研究與應(yīng)用

2.燈工玻璃燒制工具的分類手工藝工具是每一個(gè)工藝美術(shù)行業(yè)從業(yè)者不可或缺的重要伙伴。

任波　石翰林　陳露丹

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