《艺术设计专业研究生英语选读》介绍设计艺术学又叫艺术设计学是设计类专业里唯一一个有博士学位的方向它的前身是工艺美术专业。艺术设计学的培养目标是培养具备艺术设计学教学和研究等方面的知识和能力，能在艺术设计教育、研究、设计、出版和文博等单位从事艺术设计学教学、研究、编辑等方面工作的专门人才。作为一门新建立的学科设计艺术学是建立在设计实践基础上的应用性很强的艺术学科，重在设计艺术历史与理论及设计艺术实践的研究。其内涵是按科学与艺术相互促进的发展规律，创造生活、美化生活、丰富生活、充实生活。艺术设计又是一门开放性的学科，其目标是在造物活动中实现实用功能与审美理想的统一，在现代社会人们的物质生活与精神生活中发挥重要作用。

Section A 
中国的艺术设计 
引言：西方对中国艺术的研究 
Unit1 
中国设计传统 
Part A 
中国艺术设计的对称性 
延伸阅读 
中国艺术与文化 
Part B 
中国历史背景 
延伸阅读 
频危的中国传统工艺美术 
Part C 
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　　Craftsmen must attend to standards because the artifacts they make often go to the "better" sorts of people; if not gods, then perhaps nobility, or if not nobility, then at least to the wealthy.
　　God imposes a formal standard against which human worth can be measured -if a sphere is perfect, then everything else is more or less a mistake. Among humans too, some are more perfect than others - men more than women, for instance - and so it was male warriors who set the standard of humanity in Plato's day. Crafting presupposes scales of worth, and these can specify how one person relates to another. One of the most common examples of the crafting of "persons" is to be found in the use of ornamental designs. All over Eurasia, from Spring and Autumn period of China (770-476 BC) to Tudor England, graphic insignia defined a nobleman's prerogative both in ceremony and in ordinary life. Sometimes cultures find ways to inscribe even complex relationships in gra.phic patterns. The state of being married or non-married, chief or subordinate, is a function of one person's relative dependence upon another. Relations such as these can be translated into geometric designs that can both reduplicate and reinforce the social order in ceremony or in more binding sorts of relations. Graphic patterns, in other words, can serve as paradigms of social order. Here, the word "paradigm" is rooted in its origin in the crafting process, referring to a model or pattern that embodied in visual form a scale of value. That scale ultimately defined a hierarchy of human worth and so could specify degrees of agency in individuals. Bearing this in mind, it would be difficult to think of a better term of those examples of graphic order that scholars have found to be in active dialogue with social organization.

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