随着社会发展、消费方式的改变，产品不仅需要满足消费者的功能需求，还要满足相对应的文化诉求。为提升我国文明软实力，积极开发传统文化内涵的文创产品显得尤为重要。唐代金银器的辉煌成就在中国历史文化中占据相当重要的地位，但其传承与发展也面临着新的挑战。本课题以唐代金银器造型、纹样审美特征及数字化方法进行分析研究；增强大众对唐代金银器的艺术认知，为唐代金银器在新时代背景下的创新性发展提供了有效参考。主要研究如下：

（1）以唐代金银器的起源与发展为出发点，详细阐述唐代金银器的整体情况、制作工艺；对造型纹样形成因素与特征分类进行深入探究，揭示唐代金银器的时代特色，挖掘其艺术内涵。

（2）基于感性意象理论，运用定性与定量相结合的研究方法。分析提取唐代金银器中碗的形态要素特征，进行感性意象实验；建立用户意象因子与形态要素之间的对应关系。并依据可拓理论对唐代金银器纹样语义提取，构建可拓模型；利用图解思维对纹样特征语义进行可视化分析，结合形状文法进行变形与修饰。

（3）选择意象因子形态设计要素与可拓量值最大的纹样基元进行设计实例验证，采用模糊综合评价实现方案优选。实现唐代金银器的审美特征创新再应用，为传统文化与现代设计的融合发展提供了新思路。

本课题在现代审美视域下，对传统文化元素进行特征提取与意象分析，寻求与现代产品设计相融合的策略。不仅促进传统文化的创新与发展，更为产品注入了深厚的文化内涵，提升其综合价值。同时为现代社会提供新的文化资源和创意灵感，具有深远的意义。

With the development of society and the change of consumption patterns, products not only need to meet the functional needs of consumers, but also meet the corresponding cultural demands.In order to enhance the soft power of our civilization, it is particularly important to actively develop cultural and creative products with traditional cultural connotations.The brilliant achievements of Tang Dynasty gold and silver ware occupy a very important position in Chinese history and culture, but its inheritance and development are also facing new challenges.This topic analyzes and studies the shape, aesthetic features of patterns and digital methods of gold and silver of the Tang Dynasty, enhances the public's artistic cognition of gold and silver of the Tang Dynasty, and also provides an effective reference for the innovative development of gold and silver of the Tang Dynasty in the new era.The main research is as follows:

(1) Exploring the Origin of Tang Dynasty Gold and Silver Ware ,elaborating in detail the overall situation of Tang Dynasty gold and silver wares, the production process, and conducting an in-depth exploration of the formation factors and classification of the characteristics of modelling patterns, to reveal the unique characteristics of Tang Dynasty gold and silver wares of the era, and to excavate their artistic connotations.

(2) Based on the theory of perceptual imagery, the research method combining qualitative and quantitative is applied. Analyse and extract the characteristics of the morphological elements of bowls in Tang Dynasty gold and silverware, and conduct experiments on perceptual imagery; establish the correspondence between user imagery factors and morphological elements. We also extract the semantics of the pattern of Tang Dynasty gold and silver wares based on the theory of topology, construct a topology model, visualise and analyse the semantics of the pattern features using graphical thinking, and deform and modify the pattern by combining with the rules of shape grammar deduction.

(3) Select the pattern primitives with the largest value of imagery factor morphology design elements and expandable amount for design example verification, and achieve the programme preference by fuzzy evaluation. Innovative utilization of artistic features of Tang Dynasty gold and silver artifacts ，and provides new ideas for the integration and development of traditional Chinese culture and modern design.

In the view of modern aesthetics, this topic extracts the features and analyzes the image of traditional cultural elements, and seeks the strategy of integrating with modern product design.It not only promotes the innovation and development of traditional culture, but also injects profound cultural connotation into the product and enhances its comprehensive value.At the same time, it has far-reaching significance to provide new cultural resources and creative inspiration for modern society.

[1]金元浦.我国当前文化创意产业发展的新形态、新趋势与新问题[J].中国人民大学报,2016,30

(04):2-10.

[2]万露.融合感性意象的文创产品叙事设计方法研究[D].贵州：贵州大学,2020.

[3]王伟伟,宋贞贞.“丝绸之路”多元文化交融背景下的文创产品设计方法[J].湖南包装,2020,35

(05):7-11.

[4]辛向阳.从用户体验到体验设计[J].包装工程,2019,40(08):60-67.

[5]李尽沙.消费文化视角下博物馆衍生品的文化价值转向[J].新美术,2019,40(11):39-45.

[6]林丽,郭主恩,阳明庆.面向产品感性意象的造型优化设计研究现状及趋势[J].包装工程,2020,41(02):65-79.

[7]田自秉.中国工艺美术史[M].上海:上海知识出版社,1985:172.

[8]陈望衡.中国古典美学史[M].南京:江苏人民出版社,2019.

[9]王伟伟,段美新.唐代铜镜纹样在家居纺织品设计中的应用研究[J].家具与室内装饰,2022,29(08):62-67.

[10]周美玉.感性设计[M].上海:上海科学技术出版社,2011.

[11]罗仕鉴,潘云鹤.产品设计中的感性意象理论、技术与应用研究进展[J].机械工程学报,2007,

(03):8-13.

[12]马辉.基于交互设计原理的陶瓷茶具设计研究[D].景德镇:景德镇陶瓷学院,2012.

[13]黄凌玉.现代手机造型的意象研究[D].长沙:湖南大学,2008.

[14]冯青,武智灵.基于感性意象的蒸馏酒容器形态设计[J].食品与机械,2019,35(03):120-123+201

[15]孙琦.基于产品意象的感性设计研究[D].哈尔滨:哈尔滨工程大学,2010.

[16]Tanaka H, Higuchi M, Hisamoto S. Comfortable pushing/pulling force exertion fog the design of consumes products[A]. 2011 International Conference on Biometrics and Kansei Engineering.[C],2011:249-256P.

[17]Alcantara E, Artacho M A,Gonzalez J C,et al. Application of product semantics to footwear design: Part I-Identification of footwear semantics space applying differential semantics[J]. International Journal of Industrial Ergonomics,2005, 35(8):713-725.

[18]Petiotjf, Yannoub. Measuring consumer Perceptions for a better comprehension, specification and assessment of products emantics[J]. International Journal of Industrial Ergonomics,2004,33(8):507-525.

[19]齐东方.唐代金银器研究[M].北京:中国社会科学出版社,1999:127-131.

[20]谭前学、尹夏清.大唐奇珍——陕西出土的唐代金银器[J].收藏,2010,(06).

[21]王丽梅.唐代金银器装饰纹样与世俗文化[J].工业设计研究,2014(00):80-83.

[22]齐东方、申秦雁.花舞大唐春——何家村遗宝精粹[M].文物出版社,2003.

[23]王伟伟,曹登宏.唐代金银器纹样在现代家居产品中的应用[J].大观,2020.

[24]王丽梅.唐代金银器造型仿生设计范式研究[J].包装工程,2016,37(02):34-37+43.25

[25]邹雁南.技术、语境与形态视域下唐宋花形金银盏设计研究[D].江苏大学,2018.26

[26]Medley M.T'ang Gold and Silver[J].Pottery and Metalwork in T'ang China,1970:19-26.27

[27](美)薛爱华（Edward Hetzel Schafer）著,吴玉贵译.撒马尔罕的金桃:唐代舶来品研究[M].西安:陕西师范大学出版社,2005:280．

[28]郭昊麟.宋代缂丝美学特征分析与提取研究[D].西安:西安科技大学,2022.

[29]苏建宁,江平宇,朱斌等.感性工学及其在产品设计中的应用研究[J].西安交通大学学报,2004,

(01):60-63.

[30]朱青峰.唐代金银器纹样研究[D].北京:中国地质大学,2018.

[31]陆宇澄.唐代工艺美术的艺术特点[J].艺术百家,2005,(06):162-164.

[32](后晋)刘昫.旧唐书[M].北京:中华书局,1975.

[33]谭前学.大唐气象盛世遗珍唐代金银器的社会意义及其艺术特点[J].文博,2004,(01):2-11.

[34](唐)李林甫等撰;陈仲夫点校.唐六典[M].北京:中华书局,1992.

[35]谭前学.富丽堂皇中西合璧(下)——唐代金银器巡礼[J].荣宝斋,2010,(11):26-37.

[36]冯守国.传统金属工艺技法的现代演绎[J].装饰,2006,(08):120-121.

[37]朱天舒.唐代金银器与大唐气象[J].西北大学学报(哲学社会科学版),1996(01):41-44+90.

[38]张倩.何家村窖藏所见唐代金银器制作工艺述略[J].文物春秋,2022,(01):12-22.

[39]陈佳丽,王松.新疆卫拉特蒙古族银器装饰形态的研究[J].现代装饰(理论),2014:194-196.

[40]华石.唐代经典金银器皿的造型研究[D].南京:南京艺术学院,2019.

[41]王雪.唐代金银器造型艺术研究[D].北京:中国地质大学,2015.

[42]刘思.粟特文化对唐代金银器的影响[D].武汉:武汉理工大学,2017.

[43]垄国强.与日月同辉——中国古代金银器[M].四川:四川教育出版社, 1998.

[44]付婷.隋唐饮食文化研究[D].西安:陕西师范大学,2015.

[45]吴山.中国历代器皿造型.[M].江苏:江苏省凤凰美术出版社.2015.05.

[46]尚刚.唐代工艺美术史.[M].浙江:浙江文艺出版社.1998.11.

[47]高希.唐代茶酒文化研究[D].北京:首都师范大学,2012.

[48]彭燕凝.试析唐代金银器皿的工艺之美[J].家具与室内装饰,2012(06):66-67.

[49]齐东方.中国早期金银器研究[J].华夏考古,1999(4):68.

[50]庞永红.唐代金银器装饰图案论析[J].西北大学学报(哲学社会科学版),1996,(02):79-81.

[51]赵青.何家村唐代窖藏金银器的装饰纹样[J].文物天地,2020,(08):15-23.

[52]吴婉莹.何家村窖藏出土的金银器装饰纹样研究[D].西安:陕西师范大学,2017.

[53]李萌.何家村窖藏金银器纹样在当代彩妆包装设计中的应用研究[D].西安:陕西师范大学,2022.

[54]张北霞,吴卫,张红颖.中国传统卷草纹样的构成形式及装饰特点[J].湖南工业大学学报(社会科学版),2010,15(04):126-129.

[55]闫敏.唐代金银器植物装饰纹样艺术研究[D].江西:江西财经大学,2020.

[56]陈妍言.唐代金银器角隅纹样研究[D].北京:清华大学,2007.

[57]彭紫君.西安南郊何家村金银器纹饰考[D].湖北美术学院,2017.

[58]谭前学.富丽堂皇中西合璧(上)——唐代金银器巡礼[J].荣宝斋,2010,(09):28-37.

[59]孙斌.西安博物院馆藏金银器纹样在文创设计中的研究与应用[D].广西:桂林电子科技大学,2021.

[60]杰西卡·罗森, 张平.莲与龙:中国纹饰[M].上海:上海书画出版社,2019 :27-27.

[61]罗丽弦,洪玲.感性工学设计[M]北京:清华大学出版社,2015:2.

[62]孙菁.基于意象的产品造型设计方法研究[D].武汉:武汉理工大学,2007.

[63]冯青,武智灵.基于感性意象的蒸馏酒容器形态设计[J].食品与机械,2019,35(03):120-123+201.

[64]林丽,郭主恩,阳明庆.面向产品感性意象的造型优化设计研究现状及趋势[J].包装工程,2020,41(02):65-79.

[65]曲瑞丹.基于用户感性意象的陶瓷茶具形态设计方法研究[D]河北:燕山大学,2018.

[66]盘文珍.基于感性意象的蓝牙音箱CMF设计方法研究与实践[D]湖北:华中科技大学,2021.

[67]唐纳德·A·诺曼.设计心理学 3 情感化设计[M].北京:中信出版社,2015.

[68]陈凌雁.基于格式塔理论的汽车前脸造型研究[D].长沙:湖南大学,2007.

[69]任思音.探究唐代金银器的纹样特点[J].智库时代,2018,(34):221-222.

[70]蔡文,杨春燕.可拓学的基础理论与方法体系[J].科学通报,2013,58(13):1190-1199.

[71]秦臻,季铁,刘芳,等.基于民族图案基元可拓语义的产品设计方法[J].计算机辅助设计与图形学学报,2021,33(10):1595-1603.

[72]Stiny,G.(1980).Introduction to shape and shape grammars[J].Environment and Planning B:Planning and Design,1980,7(3):343-351.

[73]王伟伟,杨延璞,杨晓燕等.基于形状文法的产品形态创新设计研究与实践[J].图学学报,2014,35(01):68-73.

[74]冯青,胡易军.基于形状文法和模糊综合评价的磁州窑纹样提取与设计研究[J].包装工程,2022,

43(22):195-204.

[75]张云彦.现代审美下的唐韵特征提取与可视化研究[D].西安：陕西科技大学,2018.

[76]彭张林,杜一甫,程啸先,等.面向设计众包的产品概念方案评价与选择[J].计算机集成制造系统,2023,29(10):3450-3461.