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1、<p>  此文檔是畢業(yè)設(shè)計(jì)外文翻譯成品( 含英文原文+中文翻譯),無(wú)需調(diào)整復(fù)雜的格式!下載之后直接可用,方便快捷!本文價(jià)格不貴,也就幾十塊錢!</p><p>  外文標(biāo)題:Forms and Material of Modern Jewelry</p><p>  外文作者:Xin Wang, Kailing Zhang</p><p>  文獻(xiàn)出處

2、:2017 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design </p><p>  英文2168單詞,11589字符,中文3487漢字。</p><p>  Forms and Material of Modern Jewelry</p>

3、<p><b>  Abstract:</b></p><p>  Nowadays, there are much plenty of modern jewelry that made of other materials except for those that made of traditional materials such as gold, silver, diam

4、ond, etc. The emergence of concept jewelry has made jewelry design more diversify, and any material can be made into vivid modern jewelry by artists with their appropriate craftsmanship. The decorative property, practica

5、l property and simple processing methods of modern jewelry inspire people who love jewelry design be involved in this indus</p><p>  Keywords-jewelry design; forms; material; cultural source; popular element

6、s</p><p>  The original meaning refers only to ornaments worn on heads, but now it refers to ornaments worn in various parts of the human body, such as pins, earrings, pendant, ring, wrist ornaments, waist d

7、ecorations and other accessories. The emergence of jewelry is an important marker of human being's cultural and ideological progress. The emergence of jewelry originated from the instinctive physiological demands of

8、sense of beauty, and "making the body beautiful" is the most original as well as the mos</p><p>  In my opinion, it is necessary to achieve a goal, that is, to put those charming and shining Chines

9、e elements arose form Chinese folk arts into modem jewelry design while taking international elements into consideration, so as to create jewelry which satisfy the demands of market as well as meet individual needs and m

10、ake the forms and materials of jewelry much diversified.</p><p>  I.REDEFINITION OF THE FORMS AND MATERIAL OF</p><p>  MODERNJEWELRY</p><p>  To explorer more ideas and methods of m

11、odem jewelry design, we need to get a new understanding of the existing forms and material of modem jewelry. What had happened to the forms and material of modem jewelry? And what kind of forms are they now? From body or

12、nament that made of animal bones, feathers, stones and other natural materials in the primitive society, to those made of expensive materials in middle ages, then to the concept jewelry which are made of abandon types of

13、 modem materials with</p><p>  The value of jewelry that made of traditional material such as gold and silver is almost shown in the material; and the price of a piece of jewelry mainly depends on the materi

14、al. In both visible and invisible social hierarchy, the traditional concept of jewelry is closely linked with the jewelry, and owning to the unadvanced processing technology as well as very narrow space for creation, the

15、 form of jewelry are limited, and the materials that used to made jewelry are mainly those rare material</p><p>  The arrival of new media society is the driving source for the spread of the diversity as wel

16、l as uncertainty of jewelry's forms and materials. Popularity of multimedia and Internet, high speed cultural transmission and mutual infiltration which caused by changes information carrier and advanced processing m

17、ethods owning to a variety of technological means, all of these factors offer opportunities to the diversity as well as uncertainty of jewelry's forms and materials. Information around the wo</p><p>  II

18、.FIND SOMETHING LOCAL FROM THE CHINESE CULTURAL SOURCE</p><p>  5,000 years of Chinese civilization gives its styles of jewelry strong Chinese and oriental characteristic as well as profound meaning. In the

19、process of human being's chasing cultures around the world, those typical traditional Chinese terms will always attract people's attention. As a Chinese, each of us shall inherited and carry forward the tradition

20、al culture by taking it as each person's responsibility. We should follow closely our local culture, find something local from the Chinese cultur</p><p>  The types of classical traditional Chinese decor

21、ative arts are numerous, and in this paper, we will experience Chinese people's wisdom by viewing Chinese folk arts and crafts works. The love of beauty is Chinese people's nature, and jewelry have been their own

22、 belongings since ancient times. Chinese folk ornaments has a great variety, there are from headwear, crown ornaments, pendant, wrist decoration, feet decoration, waist decorations, etc., which have fine and strict workm

23、anship, simple and u</p><p>  For the multi-ethnic Chinese nation, the artistic styles and a wealth of jewelry styles of each nations provides a wealth of creative inspiration for the modem jewelry design. F

24、rom the view of current market , ornaments of Zhang nationality and those of Miao nationality accounts for the majority market share. In details, ornaments from Miao nationalit are magnificent with abstract beauty. The p

25、atterns on ornaments of Miao nationality are mostly plants, flowers, myths and legends, etc. , which ha</p><p>  However, ornaments of Zhang nationality are gorgeous, gentle, plain, with a focus on color, br

26、illiant rather than fickleness, which are deeply affected by religious culture of Tibetan people. Most of the ornaments of Zhang nationality have a string of beads, and mixed materials and mix and match style are often a

27、pplied to modem jewelry design.</p><p>  III.FOLLOWCLOSELY THE INFORMATION ON FASHION AND GRASP THE FASHIONABLE ELEMENTS.</p><p>  The access to information on fashion is important to jewelry. J

28、ewelry designers can find inspiration through information analysis and market analysis, which will have an impact on the form of jewelry production, processing methods and material selection. From the perspective of visu

29、al sense, the meaning of a piece of jewelry lies in the visual ideas as well as its form's power shown in ornament itself, decorative art and decorative activities. Fashion trends shows what people love and care at a

30、 </p><p>  The ways to access to information on fashion are diversified. Various fashion magazines, films and television programmes, on-line news and information, relevant journals in the field of design, fa

31、shion brand presentation, street culture, etc. , all of them will give people all kinds of fashion, including the pattern texture, appearance and materials, color, processing methods and raw materials, design concepts an

32、d other information elements. Information storage is proportional to the outbreak of</p><p>  IV.ANALYSIS ON JEWELRY MARKET BOTH AT HOME AND ABROAD</p><p>  China's jewelry market share has

33、been among the top with a few years, only second to the United States and Japan, while its market share was only 1% of the total market in previous years. In 2006, thanks to China's rapid economic development as well

34、 as a substantial increase in people's standards of consumption, jewelry has become the third largest consumer hot spot for people in China (the top two are house and automobile). In China, some famous and influentia

35、l jewelry design companies are Hong</p><p>  Modem jewelry design is a process during which the subjective thinking and objective conditions are coordinated and conflicts are constantly resolved. Modem desig

36、n is derived from the context of modem life, life inspires the design inspiration to create a modem aesthetic principles, and design will guide the change of concepts in life. As a pioneer of the times, the emotion-orien

37、ted jewelry release people's emotional feelings. As a good product, it should not only have a good appearance as well </p><p>  In the face of complicated jewelry design cultures, we should value our own

38、 culture, and absorb the essence of others as well as inherit classic to innovate by understanding other culture. classical heritage, in understanding the analysis of innovation. China has a jewelry culture with a long h

39、istory, which had laid a solid foundation for modem jewelry design. Therefore, we have reason to believe that China's jewelry designs will lead the world trend of jewelry design in the near future .</p><p&

40、gt;  REFERENCE:</p><p>  [I] Zhu Heping, History of Chinese Arts and Technology, Hunan University Press,2001</p><p>  [2] Li Guozhong,Shen Shuya, Jewelry & Culture, Literary Publishing Canad

41、a, 1999</p><p>  [3] Xu Siming, History of Chinese Arts and Technology, Shandong Education Press,2002</p><p>  [4] Zhu Heping, History of Chinese Arts and Technology, Hunan University Press,2001

42、</p><p>  [5] Pan Fujing. A new concept in fashion accessories. China Forestry Press, 2002</p><p>  [7] Pan Fujing. A new concept in fashion accessories. China Forestry Press, 2002</p>&l

43、t;p>  [8] Li Yu Fen. Fairy land PMC Hand Silver Fashion Jewelry. Shantou: Shantou University Press, 2003</p><p><b>  譯文:</b></p><p>  現(xiàn)代珠寶的形式與材料</p><p><b>  摘要:

44、</b></p><p>  如今,除了那些由金,銀,鉆石等傳統(tǒng)材料制成的珠寶外,還有很多其他材料制成的現(xiàn)代珠寶。概念珠寶的出現(xiàn)使珠寶設(shè)計(jì)更加多樣化,任何材料都可以制作由藝術(shù)家們用適當(dāng)?shù)墓に囍谱鞒錾鷦?dòng)的現(xiàn)代珠寶。現(xiàn)代珠寶的裝飾性,實(shí)用性和簡(jiǎn)單的加工方法激發(fā)了喜愛(ài)珠寶設(shè)計(jì)的人們參與這個(gè)行業(yè)。在日常生活中,一件合適的美麗珠寶表現(xiàn)出佩戴珠寶的同時(shí)提升他或她的個(gè)性。由于這些原因,有必要實(shí)現(xiàn)一個(gè)目標(biāo),即將中國(guó)民

45、間藝術(shù)中出現(xiàn)的那些迷人閃亮的中國(guó)元素融入現(xiàn)代珠寶設(shè)計(jì)中,同時(shí)兼顧國(guó)際元素,從而創(chuàng)造出滿足要求的珠寶。市場(chǎng)以及滿足個(gè)人需求,使珠寶的形式和材料多樣化。</p><p>  關(guān)鍵詞 - 珠寶設(shè)計(jì);形式;材料;文化來(lái)源;流行元素</p><p>  原意僅指佩戴在頭上的飾物,但現(xiàn)在指的是佩戴在人體各個(gè)部位的飾物,如別針,耳環(huán),吊墜,戒指,手腕飾物,腰飾等配飾。珠寶的出現(xiàn)是人類文化和思想進(jìn)步的重要

46、標(biāo)志。珠寶的出現(xiàn)源于美感的本能生理要求,而“使身體美麗”是珠寶最原始也是最基本的功能。如今,正式的美女仍然是什么樣的現(xiàn)代珠寶。如今,有很多現(xiàn)代珠寶由其他材料制成,除了那些由金,銀,鉆石等傳統(tǒng)材料制成的珠寶。概念珠寶的出現(xiàn)使珠寶設(shè)計(jì)更加多樣化,任何材料都可以制作藝術(shù)家用適當(dāng)?shù)墓に囍谱魃鷦?dòng)的現(xiàn)代珠寶。在當(dāng)代藝術(shù)的世界里,許多渴望實(shí)現(xiàn)設(shè)計(jì)夢(mèng)想的人都參與了珠寶設(shè)計(jì)。現(xiàn)代珠寶的裝飾性,實(shí)用性和簡(jiǎn)單的加工方法激發(fā)了喜愛(ài)珠寶設(shè)計(jì)的人們參與這個(gè)行業(yè)。在

47、日常生活中,一件合適的美麗珠寶表現(xiàn)出佩戴珠寶的同時(shí)提升他或她的個(gè)性。珠寶已經(jīng)出現(xiàn)在耀眼的時(shí)尚舞臺(tái)上以及普通人的生活中。</p><p>  在我看來(lái),有必要實(shí)現(xiàn)一個(gè)目標(biāo),即將中國(guó)民間藝術(shù)中那些迷人閃亮的中國(guó)元素融入現(xiàn)代珠寶設(shè)計(jì)中,同時(shí)兼顧國(guó)際元素,從而創(chuàng)造出滿足市場(chǎng)需求的珠寶。以及滿足個(gè)人需求,使珠寶的形式和材料多樣化。</p><p>  一,現(xiàn)代首飾形式和材料的重新定義</p&g

48、t;<p>  為了探索現(xiàn)代珠寶設(shè)計(jì)的更多想法和方法,我們需要對(duì)現(xiàn)代珠寶的現(xiàn)有形式和材料有一個(gè)新的認(rèn)識(shí)。現(xiàn)代珠寶的形式和材料發(fā)生了什么?他們現(xiàn)在有什么樣的形式?從原始社會(huì)中由動(dòng)物骨骼,羽毛,石頭和其他天然材料制成的身體裝飾品,到中世紀(jì)由昂貴材料制成的裝飾品,再到由放棄類型的現(xiàn)代材料制成的具有自由風(fēng)格和價(jià)值的概念珠寶個(gè)性,我們可以說(shuō),這些年來(lái),現(xiàn)代珠寶的形式和材料發(fā)生了很大的變化。</p><p> 

49、 由金和銀等傳統(tǒng)材料制成的珠寶的價(jià)值幾乎在材料中顯示出來(lái);而一件珠寶的價(jià)格主要取決于材料。在有形和無(wú)形的社會(huì)等級(jí)中,珠寶的傳統(tǒng)概念與珠寶緊密相連,并且擁有先進(jìn)的加工技術(shù)以及非常狹窄的創(chuàng)作空間,珠寶的形式是有限的,以及過(guò)去制作的材料珠寶主要是那些反映身份和財(cái)政資源的黃金和白銀等稀有材料。然而,現(xiàn)代珠寶的價(jià)值體現(xiàn)在他們的諾貝爾風(fēng)格而不是他們的材料上。珠寶設(shè)計(jì)師正試圖找到珠寶被視為藝術(shù)的方式,他們也試圖設(shè)計(jì)具有獨(dú)立藝術(shù)價(jià)值的珠寶作為家具(飾品

50、),同時(shí)使其生動(dòng)的特征得以保留。</p><p>  新媒體社會(huì)的到來(lái)是珠寶形式和材料的多樣性傳播和不確定性的驅(qū)動(dòng)源。多媒體和互聯(lián)網(wǎng)的普及,高速的文化傳播和由于信息載體的變化和各種技術(shù)手段的先進(jìn)處理方法引起的相互滲透,所有這些因素為珠寶的形式和材料的多樣性和不確定性提供了機(jī)會(huì)。世界各地的信息可以通過(guò)互聯(lián)網(wǎng)進(jìn)行交換和互動(dòng)。設(shè)計(jì)資源,傳播可以在一瞬間共享。在西半球舉行的珠寶設(shè)計(jì)會(huì)議現(xiàn)場(chǎng)可以通過(guò)網(wǎng)絡(luò)發(fā)送到東半球進(jìn)行同步

51、通信。各種文化的影響往往使設(shè)計(jì)師在敏捷思維方面更加活躍,創(chuàng)新的設(shè)計(jì)方法可能為珠寶設(shè)計(jì)帶來(lái)機(jī)會(huì)。從創(chuàng)新的角度來(lái)看,頭腦風(fēng)暴應(yīng)該保持在珠寶設(shè)計(jì)師的心中,他們應(yīng)該重新理解和利用珠寶的形式和材料。</p><p>  二,從中國(guó)文化來(lái)源看當(dāng)?shù)氐那闆r</p><p>  5000年的中華文明賦予其珠寶風(fēng)格強(qiáng)烈的中國(guó)和東方特色以及深刻的內(nèi)涵。在人類追逐世界各地文化的過(guò)程中,那些典型的中國(guó)傳統(tǒng)術(shù)語(yǔ)總會(huì)引

52、起人們的注意。作為一個(gè)中國(guó)人,我們每個(gè)人都應(yīng)該以每個(gè)人的責(zé)任來(lái)繼承和發(fā)揚(yáng)傳統(tǒng)文化。我們應(yīng)該密切關(guān)注當(dāng)?shù)匚幕?,從中?guó)文化源頭尋找一些本土文化,因?yàn)閭鹘y(tǒng)的視覺(jué)風(fēng)格和加工技術(shù)將使中國(guó)現(xiàn)代珠寶設(shè)計(jì)更加精彩和美好。</p><p>  中國(guó)古典傳統(tǒng)裝飾藝術(shù)的種類繁多,在本文中,我們將通過(guò)觀看中國(guó)民間手工藝品來(lái)體驗(yàn)中國(guó)人的智慧。對(duì)美的熱愛(ài)是中國(guó)人的天性,珠寶自古以來(lái)就是他們自己的財(cái)物。中國(guó)民間飾品種類繁多,有頭飾,皇冠飾品,

53、吊墜,手腕飾,腳飾,腰飾等,做工精細(xì)嚴(yán)謹(jǐn),簡(jiǎn)潔獨(dú)特,圖案和字母象征著吉祥,具有典型而濃厚的中國(guó)特色,在建設(shè)中國(guó)現(xiàn)代珠寶文化中發(fā)揮著重要作用。</p><p>  對(duì)于這個(gè)多民族的中華民族,每個(gè)國(guó)家的藝術(shù)風(fēng)格和豐富的珠寶風(fēng)格為現(xiàn)代珠寶設(shè)計(jì)提供了豐富的創(chuàng)作靈感。從目前的市場(chǎng)來(lái)看,張族和苗族的飾品占據(jù)了大部分的市場(chǎng)份額。細(xì)節(jié)上,苗族的飾物具有抽象的美感。苗族飾品的圖案多為植物,花卉,神話和傳說(shuō)等,具有結(jié)構(gòu)化的建模和隱含

54、的意義。其中一些有夸張的圖像,如苗族婦女脖子上的大銀項(xiàng)鏈,表現(xiàn)出民族浪漫和務(wù)實(shí)的因素,對(duì)現(xiàn)代珠寶設(shè)計(jì)產(chǎn)生了深遠(yuǎn)的影響。</p><p>  然而,張國(guó)的飾品華麗,溫柔,樸素,注重色彩,輝煌而不是浮躁,深受西藏人民宗教文化的影響。張國(guó)的大多數(shù)飾品都有一串珠子,混合材料和混搭風(fēng)格經(jīng)常應(yīng)用于現(xiàn)代珠寶設(shè)計(jì)。</p><p>  三、關(guān)于時(shí)尚和抓住時(shí)尚元素的信息</p><p&g

55、t;  獲取時(shí)尚信息對(duì)珠寶很重要。珠寶設(shè)計(jì)師可以通過(guò)信息分析和市場(chǎng)分析找到靈感,這將對(duì)珠寶生產(chǎn),加工方法和材料選擇的形式產(chǎn)生影響。從視覺(jué)的角度來(lái)看,一件珠寶的意義在于視覺(jué)創(chuàng)意以及其在裝飾本身,裝飾藝術(shù)和裝飾活動(dòng)中所體現(xiàn)的形式的力量。時(shí)尚潮流展示了人們?cè)谔囟〞r(shí)期所愛(ài)和關(guān)懷的東西,這顯示了當(dāng)前審美趣味的大部分。從市場(chǎng)的全景來(lái)看,時(shí)尚元素是參與珠寶設(shè)計(jì)時(shí)需要考慮的重要因素。</p><p>  獲取時(shí)尚信息的方式多種多

56、樣。各種時(shí)尚雜志,電影和電視節(jié)目,在線新聞和信息,設(shè)計(jì)領(lǐng)域的相關(guān)期刊,時(shí)裝品牌展示,街頭文化等,都會(huì)給人們各種時(shí)尚,包括圖案質(zhì)感,外觀和材料,顏色,加工方法和原材料,設(shè)計(jì)概念和其他信息元素。信息存儲(chǔ)與設(shè)計(jì)過(guò)程中的思維爆發(fā)成正比,因此掌握正確的設(shè)計(jì)信息和當(dāng)前的設(shè)計(jì)趨勢(shì)是一件完美珠寶誕生的關(guān)鍵。</p><p>  四,國(guó)內(nèi)外珠寶市場(chǎng)分析</p><p>  中國(guó)的珠寶市場(chǎng)份額在幾年內(nèi)一直名列

57、前茅,僅次于美國(guó)和日本,而其市場(chǎng)份額僅為前幾年總市場(chǎng)的1%。 2006年,由于中國(guó)經(jīng)濟(jì)的快速發(fā)展以及人們消費(fèi)標(biāo)準(zhǔn)的大幅提升,珠寶已成為中國(guó)人民的第三大消費(fèi)熱點(diǎn)(前兩位是房屋和汽車)。在中國(guó),一些著名和有影響力的珠寶設(shè)計(jì)公司是香港上海世聯(lián)珠寶有限公司,香港,周大福集團(tuán),老鳳祥珠寶公司,香港周生生控股,香港星期六福珠寶集團(tuán)等,其產(chǎn)品在主要的購(gòu)物中心有售。盡管國(guó)內(nèi)珠寶行業(yè)發(fā)展迅速,但仍需要將更新的設(shè)計(jì)理念和國(guó)際設(shè)計(jì)理念引入中國(guó)珠寶設(shè)計(jì)領(lǐng)域。此

58、外,中國(guó)珠寶設(shè)計(jì)師應(yīng)密切關(guān)注當(dāng)?shù)匚幕?,不斷更新自己的理念,設(shè)計(jì)出更具時(shí)尚,更前衛(wèi)的珠寶,具有中國(guó)特色。國(guó)外有許多珠寶設(shè)計(jì)學(xué)校,如精制和優(yōu)雅的洛可可風(fēng)格,拜占庭風(fēng)格充滿華麗元素,這使得珠寶材料展現(xiàn)出完美的效果而不是昂貴,而巴洛克風(fēng)格則具有自然和浪漫的元素等?,F(xiàn)代珠寶設(shè)計(jì)傾向于集中其實(shí)用功能和概念,而設(shè)計(jì)師則是對(duì)概念設(shè)計(jì)更加開(kāi)放。越來(lái)越多的珠寶設(shè)計(jì)師在珠寶設(shè)計(jì)中專注于珠寶的實(shí)用功能和美感。</p><p>  現(xiàn)代珠

59、寶設(shè)計(jì)是一個(gè)過(guò)程,在這個(gè)過(guò)程中,主觀思維和客觀條件得到協(xié)調(diào),沖突不斷得到解決。現(xiàn)代設(shè)計(jì)源于現(xiàn)代生活的語(yǔ)境,生活激發(fā)設(shè)計(jì)靈感,創(chuàng)造現(xiàn)代審美原則,設(shè)計(jì)將引導(dǎo)生活中的概念變化。作為時(shí)代的先鋒,情感導(dǎo)向的珠寶釋放出人們的情感感受。作為一款優(yōu)秀的產(chǎn)品,它不僅要具有良好的外觀以及自身獨(dú)特的品牌特征,還應(yīng)該展現(xiàn)出自己獨(dú)特的感受。戀人之間的一些甜言蜜語(yǔ)激發(fā)了對(duì)有價(jià)值的寶石設(shè)計(jì)師的心靈感應(yīng),使他們?cè)O(shè)計(jì)出“情人節(jié)的淚水”系列珠寶。這一系列的珠寶在被分手時(shí)被

60、視為戀人之間的禮物,它告訴人們這樣的設(shè)計(jì)理念:人們喜愛(ài)的經(jīng)歷是珍惜和難忘,吸引人們,他們應(yīng)該珍惜他們之間的愛(ài)。這一概念不僅具有重要的社會(huì)意義,而且開(kāi)辟了新的市場(chǎng)空間,引起了人們的關(guān)注。該設(shè)計(jì)以敏銳的市場(chǎng)意識(shí)和社會(huì)責(zé)任打破了傳統(tǒng)做法。同時(shí),創(chuàng)新設(shè)計(jì)不僅滿足了消費(fèi)者的需求,也打破了現(xiàn)有珠寶市場(chǎng)的確定性,將珠寶設(shè)計(jì)推向了一個(gè)新的階段。當(dāng)珠寶設(shè)計(jì)師參與設(shè)計(jì)時(shí),個(gè)性化珠寶也將成為首選。</p><p>  面對(duì)復(fù)雜的珠寶設(shè)

61、計(jì)文化,我們應(yīng)該重視自己的文化,吸收他人的本質(zhì),并通過(guò)了解其他文化來(lái)繼承經(jīng)典創(chuàng)新。古典遺產(chǎn),了解創(chuàng)新分析。中國(guó)擁有悠久歷史的珠寶文化,為現(xiàn)代珠寶設(shè)計(jì)奠定了堅(jiān)實(shí)的基礎(chǔ)。因此,我們有理由相信,中國(guó)的珠寶設(shè)計(jì)將在不久的將來(lái)引領(lǐng)世界珠寶設(shè)計(jì)潮流。</p><p><b>  參考文獻(xiàn):</b></p><p>  [I] Zhu Heping, History of Chin

62、ese Arts and Technology, Hunan University Press,2001</p><p>  [2] Li Guozhong,Shen Shuya, Jewelry & Culture, Literary Publishing Canada, 1999</p><p>  [3] Xu Siming, History of Chinese Arts

63、and Technology, Shandong Education Press,2002</p><p>  [4] Zhu Heping, History of Chinese Arts and Technology, Hunan University Press,2001</p><p>  [5] Pan Fujing. A new concept in fashion acces

64、sories. China Forestry Press, 2002</p><p>  [7] Pan Fujing. A new concept in fashion accessories. China Forestry Press, 2002</p><p>  [8] Li Yu Fen. Fairy land PMC Hand Silver Fashion Jewelry. S

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