基于楚鸟虫书的现代美术字装饰与形态设计研究

苑成治; 刘冰; 赵文倩

doi:10.19554/j.cnki.1001-3563.2025.14.027

PDF(6733 KB)

包装工程（设计栏目） ›› 2025, Vol. 46 ›› Issue (14) : 267-276. DOI: 10.19554/j.cnki.1001-3563.2025.14.027

视觉传达设计

基于楚鸟虫书的现代美术字装饰与形态设计研究

苑成治, 刘冰^*, 赵文倩

作者信息 +

Decoration and Form Design of Modern Artistic Calligraphy Based on Chu Bird-and-Insect Script

YUAN Chengzhi, LIU Bing^*, ZHAO Wenqian

Author information +

文章历史 +

摘要

目的研究正体美术字发端时期的楚鸟虫书,解析其装饰意象与字体形态表层形式背后的运行规律,提出现代正体美术字形态设计原理与实践策略,赋予汉字新变的活力。方法从结构、笔画、图形的设计侧重与制衡关系,解构楚鸟虫书装饰意象的设计原理与设计思维,剖析装饰意象对字体外在形式与内在气质的构建,探求装饰意象与字体形态构建的设计新变。结论现代正体美术字延承楚鸟虫书装饰意象,图形与笔形影响字“形”,结构与笔力影响字“态”,结构、笔画、图形三者相互制衡构成字体装饰意象,设计者可通过结构的仿生、笔画的视觉塑造、图形的意态凝练构建现代正体美术字形态,让字体外在形式具有装饰意味、内在气质符合使用场景、宏观视角达到形态统一。

Abstract

The work aims to study the Chu Bird-and-Insect Script in the period of the origin of the formal artistic calligraphy, analyze the operation rules behind the decorative image and the surface form of the font form, and put forward the design principles and practical strategies of the modern formal artistic calligraphy with coherent and systematic thinking, so as to give new vitality to the Chinese characters. From the design of structure, strokes and graphics, it focused on the balanced relationship, deconstructed the design principle and design thinking of Chu Bird-and-Insect Script decorative images, analyzed the construction of decorative images on the external form and internal temperament of fonts, and explored the new design changes of decorative images and font form construction. In conclusion, modern formal artistic calligraphy inherits the decorative image of the Chu Bird-and-Insect Script. Graphics and pen shapes affect the "shape" of calligraphy, and structure and pen force affect the "state" of calligraphy. The balance of structure, strokes and graphics constitutes the decorative image of fonts. Designers can construct the form of modern formal artistic calligraphy through the bionic structure, the visual shaping of strokes and the concise meaning of graphics, so that the external form of fonts has decorative meaning, the internal temperament conforms to the use scene, and the macro perspective achieves the unity of forms.

导出引用

苑成治, 刘冰, 赵文倩. 基于楚鸟虫书的现代美术字装饰与形态设计研究[J]. 包装工程（设计栏目）. 2025, 46(14): 267-276 https://doi.org/10.19554/j.cnki.1001-3563.2025.14.027

YUAN Chengzhi, LIU Bing, ZHAO Wenqian. Decoration and Form Design of Modern Artistic Calligraphy Based on Chu Bird-and-Insect Script[J]. Packaging Engineering. 2025, 46(14): 267-276 https://doi.org/10.19554/j.cnki.1001-3563.2025.14.027

中图分类号： TB482 H122 J524

参考文献

[1] 邢建丽. 书学视野下“鸟虫书”性质研究[J]. 中国书法, 2018(24): 22-25.
XING J L.Study on the Nature of 'Bird-and-Insect Script' from the Perspective of Calligraphy[J]. Chinese Calligraphy, 2018(24): 22-25.
[2] 陈楠. 中国汉字设计史[M]. 武汉: 湖北美术出版社, 2021: 174.
CHEN N.History of Chinese Character Design[M]. Hubei: History of Chinese Character Design, 2021: 174.
[3] 曹锦炎. 鸟虫书通考[M]. 上海: 上海书画出版社, 1999: 153-155.
CAO J Y.Bird-and-Insect Script Pass Test[M]. Shanghai : Shanghai Book and Painting Press, 1999: 153-155.
[4] 周博. 汉字字体设计与守正创新[J]. 美术观察, 2024(2): 26-27.
ZHOU B.Chinese Character Font Design and Innovation[J]. Art Observation, 2024(2): 26-27
[5] 陈楠. 格律设计:汉字艺术设计观[M]. 武汉: 湖北美术出版社, 2018: 109-110.
CHEN N.The Rhyme of Design: A Study in Chinese characters[M]. Wuhan: Hubei Fine Ares Publishing House, 2018: 109-110.
[6] 韩绪, 赵熙淳. 溯源·竟流·新变·致用论汉字设计的传承与创新[J]. 新美术, 2022, 43(5): 228-236.
HAN X, ZHAO X C.Tracing to the Source · Unexpected Flow · New Change · the Inheritance and Innovation of Practical Chinese Character Design[J]. New Arts, 2022, 43(5): 228-236.
[7] 李春阳. 从“意象”思维到审美共同体[J]. 美术观察, 2024(1): 20-22.
LI C Y.From 'Image 'Thinking to Aesthetic Community[J]. Art Observation, 2024(1): 20-22.
[8] 李刚, 胡欣瑶. 楚文字重心与当代字体形态的构建[J]. 山东工艺美术学院学报, 2017(5): 88-93.
LI G, HU X Y.The Focus of Chu Characters and the Construction of Contemporary Font Form[J]. Art Panorama, 2017(5): 88-93.
[9] 丛文俊. 先秦金文书法的学习与借鉴[J]. 中国书法, 2016(19): 76-97.
CONG W J.The Study and Reference of Pre-Qin Inscriptions Calligraphy[J]. Chinese Calligraphy, 2016(19): 76-97.
[10] 岳昕, 李佛君. 岳昕字体设计[M]. 北京: 电子工业出版社, 2017: 13-14.
YUE X, LI F J.Yue Xin Type Design[M]. Beijing: Publishing House Of Electronics Industry, 2007: 13-14.
[11] 李刚. 浅析格式塔心理学中的汉字笔画形态[J]. 美术大观, 2012(12): 48-54.
LI G.Analysis of Chinese Character Stroke Form in Gestalt Psychology[J]. Art Panorama, 2012(12): 77.
[12] 崔生国. 图形意语[M]. 武汉: 湖北美术出版社, 2014: 13-14.
CUI S G.Graphic Language[M]. Hubei Fine Arts Publishing House, 2014: 13-14.
[13] 杉浦康平. 亚洲的书籍、文字与设计: 杉浦康平与亚洲同人的对话[M]. 北京: 生活·读书·新知三联书店, 2016: 176-177.
SUGIURA K H. Books, Text,Design in Asia[M]. Beijing: SDX Joint Publishing Company, 2016: 176-177.
[14] 李丛芹. 汉字与中国设计[D]. 北京: 中国艺术研究院, 2006: 61-62.
LI C Q.Chinese Characters and Chinese Design[D]. Beijing: Chinese National Academy of Arts, 2006: 61-62.
[15] 黄本亮. 差别阈限在书法字体设计中的应用[J]. 装饰, 2014(1): 88-89.
HUANG B L. Application of Difference Threshold in Calligraphy Font Design[J]. Zhuangshi2014(1): 88-89.
[16] 韩绪, 邢志强. 书写、技道与理想——以“方正国美进道体”设计为例[J]. 装饰, 2023(2): 18-23.
HAN X, XING Z Q.Writing, Technology and Ideal: Taking Founder CAA Jindao Font Design as an Example[J]. Zhuangshi, 2023(2): 18-23.
[17] 汉仪字库. 汉仪小蚂蚁 [EB/OL]. 北京: 北京汉仪创新科技股份有限公司. (2022-09-02) [2024-10-03]. https://hanyi.com.cn/productdetail?id=10910&type=0.
Hanyi Fonts. Hanyi Xiaomayi[EB/OL]. Beijing: Hanyi Fonts. (2022-09-02) [2024-10-03]. https://hanyi.com.cn/productdetail?id=10910&type=0.
[18] GDC. GDC17 获奖者特辑 | 张昊:字游天地 [EB/OL]. 深圳: 深圳市平面设计协会, (2018-01-23) [2024- 10-03]. https://mp.weixin.qq.com/s/beRWIjSSMLgIPnPImBHFLQ.
GDC. GDC17 Winners special | Zhang Hao: Words Travel the World[EB/OL]. Shenzhen: Shenzhen Graphic Design Association. (2018-01-23) [2024-10-03]. https://mp.weixin.qq.com/s/beRWIjSSMLgIPnPImBHFLQ.