| Yunnan,as a densely populated region of ethnic minorities in southwest China,not only has a rich and colorful ethnic history,but also has a fusion of diverse ethnic cultures.Naxi,as a widely distributed ethnic group in this region,is most representative of dongba script,which is a very important part of the vast volume of Naxi culture.This kind of hieroglyphic writing is unique to naxi people,and is regarded as the "living fossil" of the origin of human writing.It is also the only living hieroglyphic writing in the world so far.However,Dongba characters originated from religion,and the usage scenes are mostly related to religious activities.At the same time,there is also a widespread abuse of dongba characters in some tourist attractions,so dongba characters once fell into a dilemma of limited scope of application and excessive commercialization in a short period of time.As the symbolic symbol of the Chinese nation for five thousand years,Chinese characters not only have a high degree of cultural recognition,but also are the most important carrier of Chinese culture.Based on dongba characters of Naxi ethnic group,this paper aims to explore the innovative use of dongba characters and Chinese characters in the context of modern graphics,which is also an attempt of Dongba elements in the field of Chinese character font design.This paper will be divided into introduction,text,postscript three parts,the text part is divided into five chapters to discuss.The first chapter introduce the research background of the topic,how to analyze the topic and explore the research methods and significance of the topic.In the second chapter,the author summarizes Dongba characters and font symbols,sorts out the concept and content of semiotics,and finally extracts the semiotic concept of Saussure school as the main theoretical support of this paper.The third chapter elaborates the graphic design of font from the perspective of semiotics,analyzes the meaning of the graphic design of font from this perspective,and explores the application of the graphic design of font from this perspective.In chapter four,aesthetic comparison is made between Dongba script and Chinese characters in terms of the image,concept,cultural connotation and the verve of font structure and form,and the different aesthetic displays of the two characters in font creation are summarized.The fifth chapter summarizes the simplified features of Dongba element graphics in Chinese characters and the application forms of dongba element graphics in Chinese characters.The sixth chapter elaborates the practical application of the graphic innovative design of Dongba Element Chinese characters from the perspective of semiotics,focusing on the concept and thinking of design and attaching the final design presentation.The epilogue of chapter seven summarizes the subject,graphic font design is an important form of visual aesthetic,both aesthetic feeling of art and form.The combination of Dongba characters and Chinese characters and graphic redesign is not only the inheritance of Dongba culture,but also a new idea for the performance of local ethnic visual art and Chinese character font design. |
