中国民间美术

中国民间美术中的美学思想

The Aesthetic Concepts in the Chinese Folk Arts

木版年画是中国民间美术中颇具特色的一个艺术门类，具有鲜明的民族风格、独特的表现形式和精湛的技巧。

With the brilliant national style , unique presentation and exquisite sill , the xylograph painting is one type of Chinese folk arts .

这一时期的作品风格也吸收了中国民间美术的元素。

Obviously , the work absorbed the elements of Chinese folk art .

东方审美同情观影响下的中国民间美术

Chinese Folk Art Influenced by ' Sympathy Perspective ' of Oriental Aesthetics

中国民间美术的世界博大灿烂、多姿多彩。

The world of Chinese folk art is very extensive profound and colorful .

中国民间美术符号在当代平面设计中的运用研究

The Application of the Chinese Folk Art 's Sign in the Contemporary Graphic Design

论中国民间美术中的生命意识及其图形表现

On the " Life Consciousness " of Chinese Folk Art and Its Graphics Performance

中国民间美术造型设计理念

The Design Idea of Chinese Folk Art Form

论中国民间美术的现代艺术价值

On Modern Art Value of Chinese Folk Art

中国民间美术元素应用于视觉传达设计及专业教学的研究

Chinese Folk Art Elements Used in Visual Communication Design and Professional Study of Teaching

奇妙的中国民间美术色彩语言

Color Language of Miraculous Chinese Folk Art

蒙古族民间美术的调查与研究一直是中国民间美术研究中十分薄弱的一环，基本上没有形成对所在区域文化的系统研究与清晰归纳。

The study and research of Inner Mongolia folk art is always a fragile moment of the Chinese folk art .

中原民间美术是中国民间美术和中国传统文化的重要组成部分。

Folk arts in Central Plains is an important part of China 's folk arts and China 's traditional culture .

永久性的艺术魅力&中国民间美术的创作与现代艺术理念

American Permanent Artistic Charm of the Rhetoric & The creation of China 's folk fine arts and modern artistic theory

然而也正是因为这些特殊形状材料，让中国民间美术产生了许多意想不到的效果。

However , precisely because of these irregular shaped materials , there are many unexpected creations produced in Chinese Folk Art .

第三章主要针对中国民间美术构图观的文化意义进行初步思考。

In the third chapter , I want to think over the culture meaning about the composition of Chinese folk art .

在近代由农耕社会向工业文明社会的转型中，中国民间美术受到强烈的冲击。

From the farming community in modern civilized society to the industrial restructuring , China Folk Art has been badly hit .

一九九四年，滩头年画被国家文化部授予中国民间美术一绝银奖。

In1994 , the beach New Year pictures by the state Ministry of Culture awarded a Chinese folk art must Silver .

中国民间美术是中国传统造型艺术的重要组成部分，看上去很“土”的民间美术与现代设计同宗同源、一脉相承。

The Chinese folkart is very important part of the chinese traditional art . Folkart has the same ancestor with modern design .

中国民间美术的长久发展就证明了这一点，因为它植根于民族文化心理的深层结构，具有民族的共性。

China folk fine arts development prove this for a long time , because it plant in national culture deep structure of psychology , Have national generality .

恰好这时中国民间美术大量出现在西方，它的平面感、写意性、表现性使西方艺术家大开眼界。

Just then a large number of Chinese folk art in the West , its flat sense , Freehand , performance , had Western artists to eye-opener .

作为中国民间美术中最具代表性的艺术形式，广灵剪纸可以说是民间艺术的基础和精华，是一种母体艺术。

As China folk art of the most representative paper-cut art form , Guangling paper-cut to say is base and essence of folk art , is a kind of maternal art .

中国民间美术是中国劳动人民因生产生活需要而创造的美术形式，它反映了劳动人民的审美情趣和思想信仰。

Chinese folk art is the art form that Chinese working people created for the needs of production and lives , it is a reflection of their aesthetic tastes and cultural ideas .

其赖以繁衍的生存环境的破坏和民俗风情的减弱，以及工业化、城市化的迅猛发展，使得中国民间美术整体呈现一片低落之势。

Which propagate the survival of its environmental damage and the weakening of customs , as well as industrialization and urbanization of the rapid development of Chinese folk art makes the whole show a declining trend .

研究中国民间美术元素对现代平面设计的启迪，既弘扬民族传统文化，同时也可极大地丰富平面设计语言，促进平面设计艺术的多元化发展。

Researching on the enlightenment of Chinese folk arts elements in modern graphic design would promote the ethnic traditional culture , also greatly enriched the graphic design language and promote the development of diversified graphic design art .

中国民间美术始终保持着旺盛的生命力和永恒的艺术魅力，既是我国传统民间文化遗产，也是世界艺术中绮丽的瑰宝。

It is therefore not only a legacy of China 's traditional folk culture , but also a gorgeous treasure of the world art . Chinese folk art has all along its exuberant vitality and eternal value of art .

中国民间美术反映了中国文化的一个重要方面，并渗透在造型、色彩、构图之中，其丰富的文化资源，成为中国当代油画艺术研究的重要课题。

The Chinese folk art is the reflection of Chinese culture , and permeates into the model , colors and composition . The plentiful resources of culture have become the important topic of the study of the modern Chinese oil paintings .

第二部分为第二章，主要分析了中国民间美术色彩与现代平面设计的关系。

The second part is the fourth chapter , mainly analyzing the development of the modern graphic design and the existing problems and coming to conclude that the Chinese modern graphic design must combine with traditional color if folk fine arts is aimed to be nationalized .

中国民间美术作品也是如此，从表面来看，民族美术在其成长的历程中总有些东西不断消失或新生，而另一些东西又总是长久地留存着，并展示着民族的魅力。

China folk fine arts works like this too , according to surface , national fine arts total some things disappear of new student constantly of course of growth their . And other thins are always retained for a ling time , and is showing national glamour .

论文的创新之处在于从中国民间美术的造型法则、视觉符号语言、色彩特征、审美性和创作思维方面进行分析研究，为民间美术与现代设计的有机融合做出了一定的探索。

The innovation of the thesis lies in its analyzing and researching from the aspects of sculpt principle , vision symbol language , color characteristics , aesthetics and creation thoughts , and its certain exploration on the organic introjections of the folk art and the modern design .