王茜. 我国首饰行业中当代女性与设计发展研究[J]. 宝石和宝石学杂志, 2019, 21(S1): 151-154. DOI: 10.15964/j.cnki.027jgg.2019.S1.039
引用本文: 王茜. 我国首饰行业中当代女性与设计发展研究[J]. 宝石和宝石学杂志, 2019, 21(S1): 151-154. DOI: 10.15964/j.cnki.027jgg.2019.S1.039
WANG Qian. Study on the Development of Chinese Female and Design in Jewelry Industry[J]. Journal of Gems & Gemmology, 2019, 21(S1): 151-154. DOI: 10.15964/j.cnki.027jgg.2019.S1.039
Citation: WANG Qian. Study on the Development of Chinese Female and Design in Jewelry Industry[J]. Journal of Gems & Gemmology, 2019, 21(S1): 151-154. DOI: 10.15964/j.cnki.027jgg.2019.S1.039

我国首饰行业中当代女性与设计发展研究

Study on the Development of Chinese Female and Design in Jewelry Industry

  • 摘要: 新中国成立后的国民经济恢复期,“合作化”时代“技术权利”的转移促使女性在手工业中的地位提升;2001年取消“统购统配”的金银管制制度,女性审美开始解放,社会地位提升,同时涌现出来优秀的“女性设计师”;与此同时,以审美,创新和实验为主旨的首饰设计成为了一股新生力量首先在学术领域展开,首饰设计风格的演变和女性自我意识在当代首饰艺术中的表达是中国女性主义艺术进步的缩影。这篇文章以时间线索的顺序,从两个时间段1949-2001,2001年至今,根据女性设计史研究方法从女性与技术,女性消费研究,女性与审美研究三个方面分析新中国成立以来中国首饰工艺和风格的演变与女性自我意识觉醒。

     

    Abstract: The national economy recovery after the founding of new China, and the emergence of cooperation as a novel business model facilitated the transfer of craftsmanship proprietary and raised the status of females in the handy craft industry to some extent. In 2001, the abolition of the regulation regime that featured "unified purchase and distribution" for gold promoted the liberation of female aesthetic and led to the emergence of excellent "female designers". Meanwhile, jewelry design, which focuses on aesthetics, innovation and experiment, has become a new force to demonstrate its vitality in the academic field. The evolution of the forms jewelry design takes and the expression of female self-consciousness in contemporary jewelry art are reflective of the progress made on Chinese feminist art.The author analyzed the Chinese contemporary jewelry genre of post 1949, focusing on how it reflects progresses of feminism and how to enhance women's right of speech and cultural superiority in the history of design. Based on the two time periods from 1949 to 2001 and after 2001, the author conducted an analysis about feminism, females and design, using the research method of the history of female design from three different perspectives, including female and technology, female and consumption, female and aesthetics.

     

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