碩士 / 輔仁大學 / 應用美術學系碩士班 / 95 / Chinoiserie was originally European cultural product in the 17th century when the traffic between the West and the East was very busy. It refers to Europeans’ interpretation of Chinese Art and the imagination of Chinese customs and practices. In addition to the influence of Chinese and European cultures, those of other Eastern countries were also included. Because of the introduction of Japanese style and the autarky of China, the trend of Chinese style started to fade in the middle of the 19th century. However, since the economic boom occurred in Asian countries and the awakening of local consciousness started at the end of the 19th century, designers in Taiwan and China started discussions on a series of Chinese designing styles and elements to cope with the demands of the extensive market. What’s worth to be delighted is that the efforts of these designers started to pay off internationally. However, under the cognition of establishing unique Chinese designs, some superficial and formalized Chinoiserie designs cannot be recognized by Chinese people. What’s worse, they cannot provide proper solutions to Chinese designs.
The vast concept of “Chinese style” is the theme for discussion in this research. The history of Ancient- Chinoiserie in Europe is discussed, and the experiments and exploration as well as the inheritance of the new Chinese style in Asia are also discussed. In addition to the current situations of Graphic Design in Taiwan, Hong Kong and China, poster designs will be focused to probe into Chinese design ideas and the application of Chinese elements. As for the creation research, “Propitious Pattern” that have a lot to do with Chinese’ daily lives are combined with current affairs and nine posters were created in a manner of sarcastic imitation.
It is induced from the results in this research that Chinese style is not to piece fragmental symbols together but to summarize Chinese culture and thinking. It is also believed that Chinese style is the essence of the old culture. What is simplified is the appearance of Chinese style, and what remains the same for good is the inner spirit of Chinese style. It is also appealed to the society and current educational system in Taiwan that we all can regain the enthusiasm about and respect to Chinese culture.
| Identifer | oai:union.ndltd.org:TW/095FJU00505012 |
| Date | January 2007 |
| Creators | Yu-min Chen, 陳玉敏 |
| Contributors | Tai-sheng Kang, 康台生 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 102 |
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