Chinese Artistic Spirit and Modern Design Concepts (2)

Understanding traditional art spirit from the perspective of design China's traditional aesthetics Thought design aesthetics in the west Development of traditional Chinese art spirit Enlightenment for modern design III. Development of design aesthetics in the West ↑ Go Top
Design aesthetics is a product of epochal and social catalysis, and it is formed by diverging from modern industrial design and modern aesthetic theories and combining them consciously. The beginning of modern industrial design is generally considered to be marked by the 1919 Bauhaus Design Institute. Through the study and analysis of the previous design history of modern industrial design, we will find many design aesthetic thoughts that still have guiding significance for today's design. These thoughts are the cornerstone of the modern aesthetic design system.
(A), design aesthetics in the era of arts and crafts In the West, the development of aesthetic design aesthetics can be divided into two eras: the handicraft age and the industrial age. The history of the artisanal era has a long history, dating back to ancient Greek and Roman times.
From the history of Western aesthetics, we can see that its beginning is ancient Greek and Roman aesthetics. In the various forms of Greek philosophy, embryonic sprouts of various opinions can be found. Various ideas of Western modern and contemporary culture, including aesthetics and design, can find its source in ancient Greece and Rome.
An important feature of the ancient Greek-Roman era aesthetic understanding was the combination of beauty and function. The Western philosophical Socrates said: "Everything we use, if it is to achieve its purpose in function, it is both good and beautiful, otherwise it is both evil and ugly. "This is very similar to the thinking of Mozi and Han Feizi in China. It can be said that it is an early epistemology of design aesthetics. The dialectical unity of practicality and aesthetics is one of the essential features of design aesthetics, and it is also a criterion for measuring the pros and cons of design. This essence and standard reflect the fundamental requirements and ultimate goals of human creation, and regulate and restrict people's design thoughts and behaviors. Since mankind has had a conscious understanding of beauty, the relationship between practicality and aesthetics has been explicitly raised. By guiding the practice of different understandings of the relationship between aesthetics and the original issue of the relationship between the two, a variety of design styles have emerged since ancient Greek and Roman times.
The designs left over from ancient Greek and Roman times were mainly pottery and furniture. From the pottery design, we can see that their use functions are very good, and have a certain degree of standardization, even in the ancient Roman period there have been some industrialized production features - the separation of design and production. From the modeling point of view, the shape of each product has its specific purpose of use, and different shapes have different uses. The outstanding representative of Greek furniture, kismos, is very scientific from a mechanic point of view. Analysis from the human-machine relationship is an excellent realization of comfort, and the lines of the model are also very beautiful. From these design examples, it can be seen that the design of the ancient Greek and Roman times was based on practicality as the main guiding principle, and at the same time it combined the formal beauty factors appreciated by the aristocrats. This kind of ethos of practicality and beauty is determined by the level of development of social productivity at that time, and it includes the simple aesthetic view of the “sage”. This era can also be called the archaic era in design aesthetics.
Later, the design of the handicraft era entered the classical era. With the development of social productivity, people may consider the needs of the spirit more and consider how to plan cities, design buildings and craft products from the aesthetic point of view. Then there is an aesthetic tendency to pursue pure decorative effects.
The highest line of design at this stage is the Gothic church. In the second half of the 13th century, the Gothic architectural style centered on France swept the European continent. Gothic, also known as high straight, is characterized by its vertical upward momentum. The Gothic architecture replaced the Romanesque arches with pointed arches, stained glass religious paintings on large windows, and extensive use of decorative columns and reliefs. Notre Dame Cathedral in France and Cologne Cathedral in Germany are outstanding representatives of Gothic architectural design. The design of handicraft products at this stage was deeply influenced by the architectural style (mainly Gothic architecture), and there were many designs that directly applied the modeling elements in the building to the products, especially in furniture and interior decoration. This purely decorative design has aroused people's interest. People's aesthetics in design have changed from a functional aspect to a modeling aspect, forming an aesthetic style. During the Renaissance, people re-recognized the ancient Greek and Roman culture, making the design appear a new taste. People look to ancient arts, try to absorb nutrition from them, and pursue humane curves and beautiful levels, which are consistent with the humanistic spirit of the Renaissance. Classical design was highly developed during this period, and aestheticism also entered the first peak period.
Since then, the design entered the Baroque era from the classical era, and because of the advocacy of this aesthetic style of the feudal aristocratic class, it has been deformed. Practically light, emphasis on decoration, blind pursuit of fashion. Aestheticism reached its peak in the 18th-century "Rococo" style through the 17th century "Baroque" style. Armor and gong bows are engraved with extremely complex patterns; architects are most interested in those ceremonial halls, lintels, door pillars, arched curves, pillars, or feet and the like. This aristocratic legacy continued into the new design era. In the 19th century, there were steam engines decorated with Corinthian columns, sawmills decorated with an icy iron Ivy bracket, and presses decorated with Arabesque patterns, etc. Unadorned fancy decorative works. Obviously, the characteristics of the decoration in this case affect the efficiency of use of the product. Endless waste, boundless pomp, this kind of stereotypes actually ruined the future of the design of the arts and crafts.
(II) Design Aesthetic Thought in the Industrial Age (III), Modern Art Design Concept IV. Enlightenment of Chinese Traditional Art Spirit on Modern Design↑ Go Top
Designers should explore the direction of design and development in the booming development of modern technology and rising humanitarianism. Therefore, the problem we face in the field of design is to ideologically reflect on modern society.
With the continuous decline of the dominant western cultural center-centrism and the universal acceptance of cultural pluralism, designers began to think more about how to draw on the country’s precious cultural traditions. The design of "ethnicity" is strongly promoted, and modern design that expresses traditional expression techniques and modeling elements is very popular. For example, Hong Kong famous designers Qiang Qiang, Chen Youjian, and others have combined traditional expression techniques with modern ideas, and have created many successful visual communication works that are also quite influential internationally. Reluctantly, he fundamentally denied the view that designing "internationalization" is "Westernization" or "Europeanization." He said that China has such a large market and is itself part of the international community. It cannot be called "internationalization." He stressed the need to re-recognize the relationship between "nationalization" and "internationalization." Although the Bank of China emblem of the Chinese language uses the Chinese character "中" as a graphic, it does not form a regional restriction. Ethnic culture does not necessarily affect the internationalization of design. Fundamentally, the latter is based on the former and they are mutually reinforcing rather than antagonistic.