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題名 | 從威廉.莫里斯的觀點看近年來臺灣藝術商品化的推動--以臺北故宮博物院為例=Research on William Morris's Design Theory and Art Commercialization in Taiwan: A Case Study of National Palace Museum |
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作者 | 林瑩; 蔡綺; 黃雅卿; | 書刊名 | 商業設計學報 |
卷期 | 10 民95.11 |
頁次 | 頁301-312 |
分類號 | 962 |
關鍵詞 | 威廉.莫里斯; 藝術品商品化; 工藝美術運動; 藝術生活化; 生活藝術化; William Morris; Art commercializing; Craft and art movement; Art in life; Life is art; |
語文 | 中文(Chinese) |
中文摘要 | 主張將藝術結合工藝、為平民大眾設計精緻的家居生活用品及工藝品,進而提升人民生活品味的威廉‧莫里斯,終其一身致力藝術與設計的結合,他的作品以居家生活為出發點,不僅提升當時英國人民的美學觀,更深深影響歐陸、美國、日本及臺灣的設計風格,成為西方提倡藝術品生活化、生活藝術化的先驅。近幾年來,政府大力推行文化創意產業,致力藝術與產業結合,希望能提高人民品味,進而達到真、善、美的理想境界,此項政策的理念實與莫里斯藝術商品化的理論相通。本文希冀以十九世紀的「工藝美術運動」及我國故宮博物院「Old is new 時尚故宮」不同時代背景風格迥異的藝術商品化設計案例,分析歸納其創作背景及精神內涵,並提出我國工藝產業藝術商品化之設計須注意(1)兼顧在地化與全球化(2)融合藝術商品化與商品藝術化(3)追求原創性與獨特性。 |
英文摘要 | William Morris supported democratic design and functionalism and believed mass-produced crafts could cultivate the general public's taste. He devoted himself in combining art and design. His works, with the basic theme of daily life, refined the aesthetics of the Britons and impacted the design style in Europe, the US, Japan and Taiwan. He, as a result, became one of the pioneers advocating "art is life; life is art." Creative Industry, which Taiwanese government has been keen to promote, also aims for combining art and design, in the ultimate goal of elevating the citizens' aesthetics to "truth, virtue and beauty." Case studies in the article demonstrate diverse designs of art commercialization. Through "Craft and Art Movement in the 19th century." And "Old is New: modern designs for the classic Chinese treasure", the analysis and induction of the case backgrounds and the meanings are conducted. At last, there are three suggestions in regard to applying fine arts in commercial design in the craft industries: (1) balancing between localization and globalization, (2) practicing the idea "art is life; life is art." And (3) insisting originality and uniqueness. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。