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回族人民在古兰经的基础上,使得伊斯兰书法与中国文化交融共处,和谐发展,形成了具有中国特色的回族古兰经书法。回族古兰经书法从笔、墨、纸基本工具,到书写手法、布局安排、装帧技巧、表现形式等各个方面吸收了中国文化之精髓,并且采汉字书法艺术之长,再注入本体,从而使回族古兰经书法既保持了其固有的内涵,又增添了新的艺术生命力。在新的数字媒介技术背景下,应结合回族古兰经书法艺术的社会生活实用性,发掘其与现代视觉传达设计的内涵关系。并借助当代设计的数字化整体转型,积极融入现代数字媒体设计艺术中,积极探索大设计视野下的书法与现代设计技术、媒介技术的融合与发展路径,全面推进书法艺术与时俱进。
On the basis of the Qur’an, the Hui people made the Islamic calligraphy and Chinese culture co-exist and developed harmoniously, forming the Qur’an calligraphy with Chinese characteristics. The calligraphy of the Qur’an of the Hui nationality absorbs the essence of Chinese culture from the basic tools such as pen, ink and paper, to writing techniques, layout arrangement, framing skills and forms of expression, and takes the essence of Chinese calligraphy art and reinjects it into the ontology so that the Qur’an Calligraphy has not only maintained its inherent connotation, but also added a new artistic vitality. Under the background of new digital media technology, the connotation of modern visual communication design should be explored in the light of the practicality of the social life of the Qur’an calligraphy. With the overall digital transformation of contemporary design, it is actively integrated into the modern digital media design art. It actively explores the integration and development of calligraphy, modern design and media technologies in the grand design field, and advances the art of calligraphy with the times.