| Summary: | 碩士 === 國立臺灣師範大學 === 設計學系 === 103 === Chinese landscape painting is unique and visually distinguished from western landscape painting by its special touch of brushwork, ink, style and prospect. Cultural product expresses different specialties and levels of culture. It fulfills not only material, but also spiritual needs. At the same time, the product’s symbolic value exceeds its practical value. Using Cultural product as a cultural bearer should be cautious on symbol annotation and application, avoiding simply shapes or images copy.
In this research, the literature review helps the understanding of the relating theories between Cultural product, symbol and Chinese landscape painting. With case studies, picture elements, space presentation and composition combination of Chinese landscape painting are generalized and applied to stationery design intending to create Chinese landscape painting characterized cultural commodities.
The result of the research is applied to designing Chinese landscape painting composition characterized stationery and presents the process of creation. With profound research, the selected symbols can be used in designing cultural commodities. Considering the compatibility of cultural and commodity, the symbols are transformed and re-created to ensure the cultural and practical value of the commodity. With the designer's familiarization with the culture symbols combination, even though the elements are replaced or the shapes are re-created, the commodity still presents the features and style of the culture.
The conclusions of this research are as follows: (1) The various forms of culture provide a large number of design elements for culture commodity, therefore, the analysis of culture levels and commodity attribution helps transforming the designing thinking. (2) Diagonal and parallel compositions contain simple and common elements, but central axis, central parting axis and “S”-shape compositions usually contain a large number and various elements. (3) The downward view to depth of space and upward view to height of space are usually applied in central axis, central parting axis and “S”-shape compositions. In Diagonal and parallel compositions mostly use the downward view to depth of space. (4) In central axis, central parting axis and “S”-shape compositions, a large number of rocks are often stacked up and precipitous. But rocks sweep gradually and horizontally in diagonal and parallel compositions. (5) With the transforming of the symbols and designing thinking, the commodity frees itself from the original shape and form and presents the feature of the culture. (6) A new creation process is provided as a reference for Cultural product designers.
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