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  • 學位論文

藏傳八吉祥圖案應用於大中華生活圈文創商品之創作

The creation of the eight Tibetan Buddiest auspicious igure applied to cultural and creative product in Greater China live circle

指導教授 : 林昆範

摘要


人類的起始是由各個不同族群所組成,各自發展出因應環境所衍生出的生活形態,其中包含了文化、居住、習性、宗教、信仰等發展,東西方也形成截然不同的型態,而宗教更成為人們的信仰中心,影響著人們的日常作息,也規範了人們的行為。由於早期並未有確切的文字,因此人們多以眼睛所看到的形體繪成圖案及圖紋來表示,以達到溝通及語意的宣達,迄今,這些圖案所代表的是文化的一環,把這樣的文化運用於現今,將寓意良好的圖案載露於設計之上,在電子化及科技化的時代裡,讓後代能了解歷史的進程。 本創作以藏傳佛教八吉祥圖案創新運用議題為主,探討八吉祥圖案寓意應用於平面設計之方式。創作方法的執行操作以本文將藏傳佛教八吉祥圖案的由來、意義、發展、設計做分類,從設計者的角度分析了這幾個面向對於當地人及後來宗教的影響。而圖紋經由設計運用於生活,這些代表吉祥、祝福、避邪、鎮煞等圖案,已經歷相當悠久的時光,在現今的信仰上,持續的影響著人們的生活,將悠久的吉祥圖案轉而成為人文藝術的設計傳承,提供給後代子孫對於宗教上圖案意義更為淺顯易懂。 最後本創作將八吉祥圖紋經由設計運用於生活,具備吉祥、祝福、避邪、鎮煞等圖案,以貼近生活隨手可及的物品呈現,提供紙本、平面、創作、藝術等層面,作為創作的初衷想法。原本宗教給人的制式印象,藉由平易近人的方式,用現代文創的手法,賦予圖案活的方式呈現,提供給人們對於宗教上圖案意義更為淺顯易懂,對其更加了解並擴及運用於生活。

並列摘要


The beginning of mankind is composed of different ethnic groups, each development of the environment derived from the form of life, which contains culture, residence, habits, religions, beliefs and other development, the East and West also form a distinct form, and religion is more people's belief centers, affecting people's daily routine, also regulate the behavior of people. Since the early days did not have the exact text, so that people with the eyes to see the body painted patterns and graphics to express to achieve communication and semantic Xuan Da, so far, these patterns represent a culture of the ring, the use of such a culture today, the implication of good graphics on the design, in the electronic and technological era, let future generations to understand the process of history. In this creation, Tibetan Buddhism Eight auspicious pattern of the use of the theme of innovation, to explore the eight auspicious graphic implication of the application of plane design. The execution of the creative method to classify the origin, significance, development and design of the eight auspicious patterns of Tibetan Buddhism in this paper, from the designer's point of view, the author analyzes how many of these are influenced by the natives and the later religions. And patterns are used in the design of life, these represent auspicious, blessing, evil spirits, the evil spirit and other patterns, has undergone a considerable long time, in today's beliefs, the continued impact of people's lives, religious beliefs from the historical and cultural heritage to become the design of humanities and art, to provide future generations to the religious meaning more plain. The last creation of the eight auspicious patterns through the design of the use of life, with auspicious, blessing, evil spirits, evil spirit and other patterns, to close to the life readily available to the present, to provide paper, plane, creation, art and other aspects, as the original intention of the creative ideas. Originally religious to People's format impression, by the way of approachable, with the modern literature to create a way to give the plot to live in the rendering, to provide people with the meaning of religious graphics more plain, more understanding of it and expand and apply to life.

參考文獻


陳昱珍,道世與(1992),《法苑珠林》,中華佛學學報。
陳寅恪(1980),《大乘義章》,上海古籍出版。
Shelagh Vainker,《Chinese Silk. A Cultural History》,LONDON,2004。
許明銀(2001),試析寧瑪派版〈中有大聞解脫〉,藏傳佛教在台灣學術研究會。
劉珍如(2016),〈藏傳佛教八吉祥圖紋應用於糕餅之創作〉,東方設計學院文化創意設計研究所碩士論文。

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