Regional Traditional Graphic Study On The Relationship Between The Expression And The Demand Of Social Development

With the advent of the era of information, graphic creativity, as the carrier ofinformation transmission, has more profound cultural connotations and wider range ofsocial needs. People’s understanding of beauty becomes more and more concrete andvivid. No longer do they appreciate beauty only from visual standpoint, but to feel itwith heart. The sublimation of potential perceptual knowledge to rational analysis andunderstanding of things promotes the combination of cultural connotation and graphiccreativity. With the development of times, their combination forms a new researchfield with characteristics of inter-disciplinary subject. The national graphics whichrepresent a region has certain connotation, with profound and extensive nationalcultures. As Luxun said: What is of national is of international. The national art, witha long history, not only contains profound concept on traditional culture, but also isthe crystallization of a nation’s labor and wisdom. Thus the study of it has a profoundhistoric and cultural significance. The real design will never forget the folk art, butdraw the essence from national traditional cultures and arts to service their owndesigns.This thesis makes a detailed interpretation and understanding of a series ofrelationship between traditional graphics in different regions and the needs of socialdevelopment by six chapters.Chapter one expounds the research purpose, the research status and thedevelopment prospect and so on of this thesis, so as to make a preliminaryunderstanding.Chapter two elaborates the historic meanings, expressions, and the specificity offorms of expression of graphics, to make people have a deep understanding tographics and arouse their extensive attention to graphics.Chapter three makes a analysis of deep connotations of graphics from a widerange, and introduces traditional graphics in Asian areas, focusing on the India in thesouth Asia and the Japan in the north Asia.Through the analysis of national graphicsin the south and north Asia, people has a deeper understanding of internal culturalconnotations of graphics, which more accurately services our modern design.Chapter four makes a deep analysis of traditional graphic expression in China, amultinational county, and its application in the modern society.Chapter five makes a systematic analysis of national traditional graphics in aethnic minority, Miao nationality. Through the deep analysis of successful cases inwhich the national traditional graphics of Miao nationality were applied in modernsociety, which brings some illumination to the study of the relationships between theexpression of traditional graphics and the need of the development of modern societyin other regions.Chapter six makes a conclusion of the whole thesis.