吉庆生肖 | 方圆之间尽显东方美学之韵

吉庆

生肖

全球吉庆生肖设计大赛是由北京市文化和旅游局与中央美术学院共同主办，北京市海外文化交流中心等单位承办执行的品牌文化活动。大赛旨在推广我国生肖文化，延伸春节文化内涵，推进中华优秀传统文化的国际传播能力建设。自2014年创办至今已连续举办10届，累计收到来自海内外设计作品近32070件，获奖作品400余件，参加作品征集的设计师来自32个省市自治区及20余个国家。

The Global Chinese Zodiac Design Competition is a cultural event jointly organized by Beijing Municipal Bureau of Culture and Tourism and the Central Academy of Fine Arts, with an aim to promote Chinese zodiac culture, enrich the cultural connotations of Spring Festival, and enhance the international communication capacity of fine traditional Chinese culture. Since its inception in 2014, the annual competition has been held for ten consecutive years, receiving a total of nearly 32,070 design works by designers from 32 Chinese provinces, municipalities and autonomous regions as well as more than 20 countries, of which more than 400 pieces stood out as winners.

在2023全球吉庆生肖设计大赛的征集作品中，作品《癸卯兔年》荣获平面设计、多媒体及交互设计单元优秀奖，该作品的创作灵感来自哪里？又有哪些文化深意？今天就让我们一起看看作品背后的文化内涵。

Of the entries of the 2023 Global Zodiac Design Competition, The Year of the Rabbit won the Excellent Prize in the Graphic, Multimedia and Interactive Design category. Where did its designer find the aspiration? What cultural connotations does the work convey? Today, let us explore the cultural connotations behind the work. 

2023全球吉庆生肖设计大赛

（癸卯兔年）

2023 Global Chinese Zodiac Design Competition

 (Year of the Rabbit)

平面设计、多媒体及交互设计单元

优秀奖

《癸卯兔年》

Graphic, Multimedia and Interactive Design 

Outstanding award

《The Year of the Rabbit》

作者介绍  Designer

胡海啸 Hu Haixiao

设计说明 Design description

作品运用简洁明了的色块组成生肖兔形，从不同的角度看，既可以是一只活泼灵巧的兔子，粉红色圆圆的身体，绿白两色的耳朵，两只眼睛点缀在图案中间，犹如画龙点睛，又可以是两只兔子圆润的背影，给人无尽的想象空间。

The work depicts the zodiac animal of rabbit with simple but clear color blocks. From different angles of view, one can see either a lively, adorable rabbit with a pink, plump body, green-white ears, and two eyes in the middle forming the focus of the entire work, or the back silhouette of two plump rabbits, creating an unlimited space for imagination. 

几何美学与中国“规、矩”之间的

相互交融

Mutual integration between geometrical aesthetics and Chinese rules

准绳规矩示意图

图片来源：明代《三才图绘》

A sketch of yardsticks, compasses and rulers in ancient China

Photo from Sancai Drawings of the Ming Dynasty

癸卯元宵，花好月圆。作品《癸卯兔年》用基础的色块与简单的几何形态凸显出了平面作品的主体。几何在中国传统文化范畴当中不仅代表着图形本意，更是引申到了为人处世与生命观。

方与圆是中国传统文化中的重要概念。规是作圆，矩是画方。孟子曰：“离娄之明，公输子之巧，不以规矩，不能成方圆。”原意是不用圆规、矩尺等器具，就画不好方圆形状。而今，规和矩多用来比喻标准法度。

The Lantern Festival of the Year of the Rabbit marked a time of family reunion. The Year of the Rabbit uses basic color blocks and simple geometrical patterns to highlight the subject of the graphic work. In traditional Chinese culture, geometrical patterns are more than just decorative motifs, but also convey Chinese people’s life philosophy.

“Square” and “circle” are important concepts in traditional Chinese culture. The compass is used to draw squares, while the ruler is used to draw squares. Mencius once said, “Without the compass and ruler, one cannot draw square and circle well even if he is as wise as Li Lou and as skillful as Gongshu Ban.” Today, “compass” and “ruler” are often used to figuratively refer to rules. 

伏羲女娲图

来源：国家博物馆

The Painting of Fuxi and Nuwa

Photo from the National Museum of China

在唐代出土的各版本《伏羲女娲图》中，伏羲女娲作为华夏民族缔造者，两位都是人首蛇身，上身相拥，尾部交缠在一起。伏羲手持矩，女娲手持规，代表天地方圆。伏羲女娲手持规矩的作用，多为其作为创世神来规范世界，建立人类社会秩序。

A variety of Tang Dynasty paintings depicting Fuxi and Nuwa, legendary founders of the Chinese nation, have been unearthed. In this painting, both of them have a human head and a snake body, and embrace each other, with their tails intertwined. Fuxi holds a ruler in one hand, while Nuwa holds a compass, representing the rules of earth and heaven. This painting indicates that Fuxi and Nuwa, as Creators in Chinese mythology, formulated rules and norms to govern the world, bringing order to human society. 

几何状的“线性”文化遗产

北京中轴线

Beijing Central Axis: “Linear” Cultural Heritage Full of Geometrical Elements

北京中轴线从整体规划到重要标志性建筑的设计，皆运用了基于规矩方圆作图的一系列构图比例，其背后蕴含着中国古人“天圆地方”的宇宙观、“象天法地”的规划设计理念和追求天、地、人和谐的文化观念。

From overall planning to iconic landmarks, the Central Axis of Beijing features a series of proportional layouts based on squares and circles. Behind this is the ancient Chinese cosmic view that “heaven is round and earth is square”, the planning idea of “learning from heaven and earth”, and the cultural concept of pursuing harmony of heaven, earth and human. 

“一根长达八公里，全世界最长，也最伟大的南北中轴线穿过全城。北京独有的壮美秩序就由这条中轴的建立而产生;前后起伏、左右对称的体形或空间的分配都是以这中轴线为依据的;气魄之雄伟就在这个南北引伸、一贯到底的规模。”

——梁思成《伟大的中线轴》

“An eight-kilometer central axis runs from south to north through the entire city, which is the longest and most magnificent of its kind. The unique, impressive order of Beijing took shape with the formation of this central axis. The changing shapes or spatial distributions that are symmetrical on both sides of the central axis. The magnificence of the capital lies in the uninterrupted central axis extending from south to north.”

——The Great Central Axis by Liang Sicheng 

北京中轴线天安门地区

图片来源：三联生活周刊

The Tian’anmen area on the Central Axis of Beijing

Photo from Sanlian Life Weekly

中国自古以来就有以中为尊、“择中”而居的传统，中轴线之“中”，既是几何意义上的“中”，更是文化观念上的“中”；“轴”字反映出布局的规整和严谨，也贴合了“对立统一”的辩证思维。

Since ancient times, Chinese people have venerated the “center”. Traditionally, Chinese people prefer to dwelling in the central part. The Central Axis of Beijing represents the “center” in both geometrical and cultural sense. Moreover, it reflects a neat, strict layout and conforms to the dialectical idea of “unity in diversity”. 

傅熹年对北京中轴线大明门至景山段的模数比例分析

图片来源：北京规划建设

A modular plane analysis conducted by Fu Xinian on the section from the Daming Gate to the Prospect Hill of Beijing Central Axis

Photo from Beijing Planning Review 

北京中轴线不仅在总平面规划方面，而且在轴线上几乎每座重要标志性建筑的平、立、剖面设计中，皆巧妙运用规矩方圆作图比例，形成中轴线建筑群从整体到局部的内在和谐，至为精彩。

Not only the overall planning of Beijing Central Axis but also almost every landmark building on the axis skillfully used “squares” and “circles” in plane and sectional designs, creating a wonderful internal harmony of the architectural complex on the Central Axis, both holistically and partially.  

现代文创中的几何

Geometrical Designs in Modern Cultural and Creative Products

在历史的文化传承中，几何化图形作为最简单、最概括的图形种类之一，在信息化社交和文化传播过程中最容易识别和流通。近年来随着国潮风的兴起，中国传统文化走入了大众视野，人们在物品的选择上已不仅仅满足于其实用价值，而更喜欢能够承载文化精神且体现创新能力的产品，几何便成为了承接这一职能的最重要的元素之一。

现如今，几何文化通过古今文化的融合已被赋予了新的内涵，并被艺术家们创造成为多种多样的符号化视觉形象，因此我们可以通过各种各样新中式文创产品看到几何元素背后的文化故事，进一步增强文化自信。例如这套灵感来自于故宫博物院藏品《海错图》形象打造出的绘图尺文创产品，在实用价值以外，被赋予了“以海洋世界的万般旖旎，丈量事物的广度”的文化意义。

Throughout the history of cultural inheritance, geometrical patterns, as a kind of the simplest and most abstract motifs, are particularly easy to be identified and circulate in information-based social networking and cultural dissemination. With the rise of “China chic” in recent years, traditional Chinese culture has begun to be embraced by the public. When choosing products, people prefer those conveying cultural spirit and demonstrating innovative capacity, rather than just focus on their practical functions. Geometrical designs became one of the most important elements that meet this trend.

Today, through integration of ancient and modern cultures, geometrical designs have been given new connotations, and artists have used them to create a plethora of symbolic visual images. In this context, we can find cultural stories behind geometrical elements in various modern cultural and creative products inspired by traditional Chinese culture, so as to enhance our cultural confidence. For instance, this set of creative drawing instruments inspired by Illustrated Album of Sea Ornaments collected in the Palace Museum conveys the cultural meaning of “gauging the breath of everything with the boundless beauty of the ocean”, in addition to its practical value. 

《海错图》绘图尺文创产品

图片来源：非遗传承人产业基地

Creative drawing instruments inspired by Illustrated Album of Sea Ornaments

Photos from China Intangible Cultural Heritage Inheritors Industrial Base

文明的传承离不开几何的艺术、矩阵的变化、角度的位移，借助这些载体，我们可以回忆一段过往，同时也在创造一个个新的文化故事，传统美学与现代文明碰撞出的火花，将为我们带来多元的创新。

The inheritance of civilization would be impossible without geometrical arts, matrix changes and angle shifts. Relying on them, we can awaken memories of the past while creating one and another new cultural stories. The clash between traditional aesthetics and modern civilization brings diverse innovations to us. 

“吉庆年年——2023全球吉庆生肖设计大赛（癸卯兔年）线上展”

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“Auspicious Year”—Invitational Exhibition of the 2023 Global Chinese Zodiac Design Competition Online Exhibition

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带着文化自觉和文化自信，全球吉庆生肖设计大赛旨在延伸生肖文化内涵，以创新、时尚、国际化的表达方式，讲好中国故事，传播好中国声音，增进世界对中国生肖文化的理解和共鸣。之后，本栏目也将继续为您讲述全球吉庆生肖设计大赛作品背后的文化故事，敬请期待！

With cultural consciousness and confidence, the Global Chinese Zodiac Design Competition aims to enrich the connotations of Chinese zodiac culture and tell Chinese stories and spread Chinese voices in an innovative, fashionable and internationalized way, so as to deepen the global audience’s understanding and resonation of Chinese zodiac culture. In the future, this series will continue to tell cultural stories behind the Global Chinese Zodiac Design Competition. Please stay tuned.

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参考资料：

[1]张文艳. 汉代伏羲女娲图像研究[D].西北师范大学,2019.DOI:10.27410/d.cnki.gxbfu.2019.000779.

[2] 刘东文.风景园林设计中几何艺术美学的动态性设计与研究[J].工业建筑，2020,50(10):209.

[3]故宫博物院.伏羲女娲像页

[4]嵩县人民文化馆.文化遗产日 | 非遗+文创，你了解多少？

[5]王南.规矩方圆  天地中轴——明清北京中轴线规划及标志性建筑设计构图比例探析[J].北京规划建设,2019,No.184(01):138-153.

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