以文心雕龍〈神思〉探討金蝶獎得獎作品之裝幀設計

Exploring the Book Design of Golden Butterfly Award-Winning Works through 'Shen Si' from 'Wen Xin Diao Long'

陳智文(Chen Chih-Wen)；李新富(Li Xin-Fu)；林磐聳(Lin Pang-Soong)

金蝶獎 ； 裝幀設計 ； 文學思辨 ； 符號詮釋 ； 形式主義 ； Golden Butterfly Design Award ； book cover design ； literary speculation ； symbolic interpretation ； formalism

商業設計學報

27期（2024 / 03 / 01）

57 - 80

繁體中文;英文

本文主要探討以《文心雕龍》卷六第二十六篇〈神思〉為理論基礎，分析金蝶獎得獎之書籍裝幀設計風格和意涵。運用〈神思〉篇的解讀，梳理書籍裝幀的創作構思和藝術想像。本文目的在提供一個從古文典籍思辨的視角，幫助設計師更好地理解和應用〈神思〉的文學思辨方法，詮釋視覺創意的內涵。從研究裝幀設計中的符號詮釋開始，導入審美、精神性的觀想，亦與古代文學、哲學相互融會，解讀裝幀設計的深層意義。將創作思維與視覺設計進行疊合，開啟創意思維上的邏輯推衍與客觀的詮釋方法。本研究關注金蝶設計獎的裝幀設計作品，解析設計師隱沒在作品背後的創意語言，將設計理念有系統的組織歸納。當代裝幀設計許多作品是從形式主義裡跳脱出來，特立獨行以至解讀上難以駕馭，主要原因在於當受眾進入內心觀照，文辭無法捕捉因創作形式產生的意識形態，彼此存在著模棱兩可、情盡乎辭的困窘。於是，發掘古代詮釋語言，解釋當代抽象型態，拉近心識距離並賦予確切感受，為研究主要目標。

This article mainly explores the style and meaning of book cover design in the context of the theory presented in "Wen Xin Diao Long," specifically in Volume 6, Chapter 26, "Shen Si." By utilizing the interpretation provided in "Shen Si," the article examines the creative concepts and artistic imagination behind book cover designs. The article aims to provide a perspective on ancient literature and classics that can help designers better understand and apply literary and philosophical methods of thinking, and interpret the inner workings of visual creativity. Starting with the interpretation of symbols in book cover design, the article introduces aesthetic and spiritual perspectives, as well as a fusion of ancient literature and philosophy, to interpret the deeper meanings of book cover design. By combining creative thinking with visual design, the article opens up logical inferences of creative thinking and objective interpretation methods. The article focuses on book cover designs that have won the Golden Butterfly Design Award, analyzing the creative language hidden behind the designs and organizing design concepts systematically. Many contemporary book cover designs break away from formalism and stand out, making them difficult to interpret. The main reason for this is that when the audience enters into introspection, the language cannot capture the ideology generated by the creative form, resulting in a perplexing situation where the meaning is ambiguous and the emotion is conveyed through words. Therefore, the main goal of this study is to explore ancient interpretive language, explain contemporary abstract forms, bring the audience closer to the emotions, and provide accurate feelings.