Writing the title of this article, "Plucking the chords of folk art and modern design," I can't help but think of Jean Clare, a well-known French art critic. Claire sits steadily in the position of director of the Picasso Museum, but is famous for sharply attacking contemporary avant-garde art. In his famous work "The Present State of Fine Arts" (1983), Claire undertook extremely difficult fashion to launch "avant-garde" (also known as "avant-garde") while at the same time emphasizing the nationality or regionality of art, emphasizing art. His immortality or "return to origin" features, he quoted painter Egon Schiele: "Art can never be modern, art is eternal return to origin".
In October 1997, Claire launched the book “The Responsibility of the Artist.†He continued to emphasize the regional nature of the art and the characteristics of “return to origin†and continued to make trouble for the avant-garde.
Claire is dedicated to the nationality and regionality of art, focusing on "French painting" or "Paris school" with ethnic and regional characteristics. On the one hand, he fiercely criticized the cosmopolitan characteristics of the contemporary art under the United States. He believed that the "contemporary art museums" around the world exhibited almost the same kind of people and the same kind of things. These arts without subject matter, meaning, and “cleaning and cleansing†any human element are just “acknowledgement of emptyness by means of spaceâ€. This is no longer a “decision†of art, but a “dramatic collapseâ€. On the other hand, he contrasted the idiosyncrasies of Italian Renaissance artists with contemporary artists and pointed out that each person carries the mark of the scenery and light of their native country. In his opinion, painting should be a piece of land, a certain kind of light, a manifestation of a certain region, and the artist is the son of a piece of land. Claire’s insights are thought-provoking. Back to the topic of this article, it is how to reflect the characteristics of Chinese national art in modern design. Applying Claire’s view that the Chinese designer should be the son of China’s land, the design should be marked with indigenous traditional art. Regarding this issue, people in the circle are highly opinionated. In my author's artistic practice and teaching career, I also deeply feel that grasping and upholding the nationality of art in the process of the influence of today’s “globalization†or “globalization†In particular, the nationality of modern design is particularly important in combining tradition with modernity. Adhere to the nationality of modern design, to a large extent, is the respect and reference of folk art. Speaking of folk art, many people may dismiss it. This is because Chinese art and culture are basically literary traditions, and folk art traditions are in an implicit form. Therefore, folk art has always been out of the mainstream. The arts attaches great importance. The second reason is that people nowadays think that “it†is too big, too distant, and too low-lying, and the popular taste nowadays is something that is foreign, fashionable, and bright and white. It can be said that folk art is quietly hiding under the ground of the orthodox or mainstream art, but who can say that the Minghe river flowing above the ground will not be nourished and favored by it.
Undoubtedly, no matter the Chinese or foreign, mainstream culture or art has been nourished by upholding folk culture or art. The Austrian painter Klimt, known as "the greatest innovator in modern art history", benefited from Chinese folk art. In his works, he not only directly adopted Chinese folk pictures and pottery. Embroidery patterns and patterns are used to decorate and enhance the atmosphere. But also boldly borrowed from Chinese folk art performance skills. Great artists such as Matisse and Picasso also consciously used some of the expressions of oriental folk art in their own works. In May 1995, he exhibited the work of Xi Pan] artist Mirow in Shanghai. From this, we can obviously feel the influence of Oriental folk art, especially the later works of Miro, whether it is composition, concept or color. The collocations are similar to the lace and tapestries of some ethnic groups in China. Milo's "Blood Sun," created in 1948, smeared with black on his olive green background. The red, yellow, and red suns on the right side have similar bird symbols in the Chinese sun. The middle of the screen is a sign resembling Chinese hieroglyphs with thick ink. It is scattered around with red and black colors. Concentric circles. Throughout the entire picture, there are striking similarities with the expression techniques of Chinese folk art.
What is folk art? He is a word of mouth and hand-to-hand teaching. It is a direct contact and collision between people and people, people and things, and people and the world. In each piece of folk art, everyone can melt his own understanding of life, the world, and eternity. It needs and promises the creation of everyone. In this way, things that resonate will be retained and will be passed down from generation to generation. When it passes from each generation, it dissolves and reproduces each generation’s life, ideas and emotions, and becomes the most direct art. origin. Therefore, folk art is also the mother and prototype of art, and it is the most original art. Therefore, it can provide the most direct inspiration and the most abundant reference for our artistic practice today.
Folk culture and folk art are one of the sources for modern design creation today. It should be acknowledged that works of various types of folk art, such as woodblock prints, paper cutting, ceramics, wood carvings, and embroidery, are actually “designed†works, and folk artists of all ages Actually, it is the "designer" of the era in which they live. These "designers" have also conducted serious "design" exploration and practice. These "works" also have these "designers" of the "design concept ", its understanding of life and its persistent pursuit of beauty. Moreover, the simple, simple and concise styles exhibited by folk art works often have similarities with many concepts of modern design. It is precisely for this reason that many folk art works of various kinds and characteristics that are created and designed using techniques such as carving, cutting, painting, plastics, dyeing, weaving, embroidering, smelting, grinding, and cutting are exquisite and are often caused The contemporary designers were very impressed with it and even became a model work in the history of art. In addition, folk art works can arouse our intimacy due to the traditional modeling language and the manual nature. This is not replaced by the rationality of modern industry.
To explore the relationship between folk art and modern design is to explore the possibility of organic integration between the two and to explore how to make some outstanding traditions of folk art manifest in modern design. The term "design" refers to all visual elements - formal, reproducible, symbolic, and all surface decorations attached to the body of the product. The modern design concept advocates to bring this kind of surface decoration closer to our daily life. It can be said that modern design is increasingly affecting the sentiments, quality and taste of our daily life. It broadens people’s aesthetic vision and artistic interest in everyday situations such as squares, streets, business centers, cultural and entertainment venues, and residential areas. Covers various creative fields such as commercial advertising, book decoration, industrial design, product packaging, interior design, mural painting, and signage. It covers the environment of the square, small to fire stamps, modern design like a television screen, and constantly communicates to us the society. The information of the times has a distinct era. Modern design in many ways can draw on the color, aesthetics, and patterns of folk art.
Taking furniture decoration as an example, we can faintly see the shadows of Ming and Qing dynasty furniture decorations from the many modern furniture designs that we are interested in. The Chinese dynasty furniture development has formed its own unique decorative style, such as concise Lines, bright patterns, gold lacquer paintings, lacquer lacquer, screw inlays, silver wire springs, and so on ... rich and beautiful. The design of modern furniture will be more elegant and classical after properly absorbing the above characteristics. For example, the pattern of ingenious designs such as “Five Blessings, Longevity,†and “Four Perfects†on the desktop of a circular coffee table with new sandblasting technology Use will make the coffee table look modern and simple.
Taking clothing as an example, the fabric patterns of traditional folk costumes provide a rich source of resources for the design of modern clothing designs. In recent years, there have been unique styles in which folk traditional patterns appear in many fashion contests. The reproduction of many folk art patterns such as sun, moon, stars, dragons, and mountains on modern industrial products and costumes shows that people recognize the formal beauty of the folk art and the connotation of the blessing.
Taking the design of merchandise and advertising as an example, many traditional patterns of folk art such as Double Wind, Pisces, Lion Ball, Lotus Doll, Theatre Mask, etc., have been widely used in many commodity design, logo design, packaging design, and book design. use. Many advertisement posters and album envelopes also use the form of folk paintings and facial masks, as well as simple lines and bright colors that are unique to new paintings and masks. Some television advertisements also use a large number of folk props in order to achieve the effect of communication with the audience on the cultural and psychological level.
Taking architecture and interior design as an example, China’s architecture and interior design have a long history. Compared with modern interior design, apart from differences in modeling, materials, and crafts, traditional architecture and interior design are in terms of taste, aesthetic interest, etc. Modern design is still connected. When people look for new forms of expression and expression of language, they often go to traditional or folk customs to find some inspirations, such as many building and residential buildings in Shenzhen, the nationalization and folk-customization and modern design of their architectural shapes. The large-area glass curtain wall and stainless steel often used combine to achieve unexpected results. In the modern interior design, it is supplemented with folk art styles and features such as lacquer art, pottery, embroideries, and murals. And so on, it also has the effect of complementing each other. The lobby of Beijing International Hotel, which is modern and stylish, has a large lacquer mural “Feast and Musicâ€, which is a good example of the elegant, classical and stylish atmosphere of the hall.
Finally, taking the author's award for a set of folk art match design that has won many awards at home and abroad, this set of artistic matches consists of an outer package and ten inner packages. The outer package is a drawer flat cuboid, which symbolizes the former used by the Tu nationality; the ten embroidered articles on the ten inner packagings are all simulated according to the shape of the actual object, combining the well-informed folk art appearance image with the opening and closing book packaging. Focused on the local ethnic characteristics, narrow small box ridges, respectively labeled with the name of the various ethnic embroidery products such as the Tibetan elms, the socks of the Hui nationality, the Tu’s waist-leader’s boots, and the Han nationality, etc., Open the cover page, and there is a green Chinese auspicious pattern "plate length" in the center of the box, which means that happiness is always happy. The entire match inside and outside the packaging reflects a unified design style.
Reproduce the folk customs of folk embroidery, organically integrate and unite traditional folk art with modern design. This is the main idea of ​​this package design. Folk art has always been bold, strong, stimulating, and emotionally conveyed in terms of color. It's plain and simple. In the color of this package design, I boldly learn from this feature, using non-red and black, non-black and white, yellow and green understatement. Blue and purple embellish the outline, making the personality and the whole not only related to each other, but also have their own characteristics, such as the outer box of the box at the end of the red, white and black, the inner box of embroidery embroidery "bottom" and pattern color, are strongly contrasted Full and gorgeous, the small package has a rustic atmosphere. Patterns are fruits and vegetables, and they are all things related to people's lives and interest. They are bright, lively, and highly random. There are various patterns in the inner box and the outer box, two continuous Yan maps, auspicious clouds, and the lotus lotus and fish of Qifeng, the rich peony, the cold plum of Aoxue, and the pair of life peaches of Fenggaotang, etc. Seemingly careless, in fact, very savory, rich in content. Even the little dashed lines on the box symbolize the stitches that are hand-sewn when they are stitched together. The set of match packaging design has an eye-catching title “Chinese folk embroidery art matchesâ€. This line of words blends in harmony with the colors of the picture. The friendly and popular slogan “Knowing... Love... Treasure†seems to appear in the line. Inducing people: Just open the match box, you will understand the rich appearance of Chinese embroidery, and know the autumn leaves. Thanks to the meticulous arrangement of slogans and the emotional transmission of folk embroidery's artistic language, the design of this artistic fire purple is far beyond the match itself. It integrates folk custom, culture, craftsmanship and decoration. It is both traditional and rigorous and modern. Its artistic value is self-evident.
In the Fifth National Packaging Design Competition, this set of artistic matches
In October 1997, Claire launched the book “The Responsibility of the Artist.†He continued to emphasize the regional nature of the art and the characteristics of “return to origin†and continued to make trouble for the avant-garde.
Claire is dedicated to the nationality and regionality of art, focusing on "French painting" or "Paris school" with ethnic and regional characteristics. On the one hand, he fiercely criticized the cosmopolitan characteristics of the contemporary art under the United States. He believed that the "contemporary art museums" around the world exhibited almost the same kind of people and the same kind of things. These arts without subject matter, meaning, and “cleaning and cleansing†any human element are just “acknowledgement of emptyness by means of spaceâ€. This is no longer a “decision†of art, but a “dramatic collapseâ€. On the other hand, he contrasted the idiosyncrasies of Italian Renaissance artists with contemporary artists and pointed out that each person carries the mark of the scenery and light of their native country. In his opinion, painting should be a piece of land, a certain kind of light, a manifestation of a certain region, and the artist is the son of a piece of land. Claire’s insights are thought-provoking. Back to the topic of this article, it is how to reflect the characteristics of Chinese national art in modern design. Applying Claire’s view that the Chinese designer should be the son of China’s land, the design should be marked with indigenous traditional art. Regarding this issue, people in the circle are highly opinionated. In my author's artistic practice and teaching career, I also deeply feel that grasping and upholding the nationality of art in the process of the influence of today’s “globalization†or “globalization†In particular, the nationality of modern design is particularly important in combining tradition with modernity. Adhere to the nationality of modern design, to a large extent, is the respect and reference of folk art. Speaking of folk art, many people may dismiss it. This is because Chinese art and culture are basically literary traditions, and folk art traditions are in an implicit form. Therefore, folk art has always been out of the mainstream. The arts attaches great importance. The second reason is that people nowadays think that “it†is too big, too distant, and too low-lying, and the popular taste nowadays is something that is foreign, fashionable, and bright and white. It can be said that folk art is quietly hiding under the ground of the orthodox or mainstream art, but who can say that the Minghe river flowing above the ground will not be nourished and favored by it.
Undoubtedly, no matter the Chinese or foreign, mainstream culture or art has been nourished by upholding folk culture or art. The Austrian painter Klimt, known as "the greatest innovator in modern art history", benefited from Chinese folk art. In his works, he not only directly adopted Chinese folk pictures and pottery. Embroidery patterns and patterns are used to decorate and enhance the atmosphere. But also boldly borrowed from Chinese folk art performance skills. Great artists such as Matisse and Picasso also consciously used some of the expressions of oriental folk art in their own works. In May 1995, he exhibited the work of Xi Pan] artist Mirow in Shanghai. From this, we can obviously feel the influence of Oriental folk art, especially the later works of Miro, whether it is composition, concept or color. The collocations are similar to the lace and tapestries of some ethnic groups in China. Milo's "Blood Sun," created in 1948, smeared with black on his olive green background. The red, yellow, and red suns on the right side have similar bird symbols in the Chinese sun. The middle of the screen is a sign resembling Chinese hieroglyphs with thick ink. It is scattered around with red and black colors. Concentric circles. Throughout the entire picture, there are striking similarities with the expression techniques of Chinese folk art.
What is folk art? He is a word of mouth and hand-to-hand teaching. It is a direct contact and collision between people and people, people and things, and people and the world. In each piece of folk art, everyone can melt his own understanding of life, the world, and eternity. It needs and promises the creation of everyone. In this way, things that resonate will be retained and will be passed down from generation to generation. When it passes from each generation, it dissolves and reproduces each generation’s life, ideas and emotions, and becomes the most direct art. origin. Therefore, folk art is also the mother and prototype of art, and it is the most original art. Therefore, it can provide the most direct inspiration and the most abundant reference for our artistic practice today.
Folk culture and folk art are one of the sources for modern design creation today. It should be acknowledged that works of various types of folk art, such as woodblock prints, paper cutting, ceramics, wood carvings, and embroidery, are actually “designed†works, and folk artists of all ages Actually, it is the "designer" of the era in which they live. These "designers" have also conducted serious "design" exploration and practice. These "works" also have these "designers" of the "design concept ", its understanding of life and its persistent pursuit of beauty. Moreover, the simple, simple and concise styles exhibited by folk art works often have similarities with many concepts of modern design. It is precisely for this reason that many folk art works of various kinds and characteristics that are created and designed using techniques such as carving, cutting, painting, plastics, dyeing, weaving, embroidering, smelting, grinding, and cutting are exquisite and are often caused The contemporary designers were very impressed with it and even became a model work in the history of art. In addition, folk art works can arouse our intimacy due to the traditional modeling language and the manual nature. This is not replaced by the rationality of modern industry.
To explore the relationship between folk art and modern design is to explore the possibility of organic integration between the two and to explore how to make some outstanding traditions of folk art manifest in modern design. The term "design" refers to all visual elements - formal, reproducible, symbolic, and all surface decorations attached to the body of the product. The modern design concept advocates to bring this kind of surface decoration closer to our daily life. It can be said that modern design is increasingly affecting the sentiments, quality and taste of our daily life. It broadens people’s aesthetic vision and artistic interest in everyday situations such as squares, streets, business centers, cultural and entertainment venues, and residential areas. Covers various creative fields such as commercial advertising, book decoration, industrial design, product packaging, interior design, mural painting, and signage. It covers the environment of the square, small to fire stamps, modern design like a television screen, and constantly communicates to us the society. The information of the times has a distinct era. Modern design in many ways can draw on the color, aesthetics, and patterns of folk art.
Taking furniture decoration as an example, we can faintly see the shadows of Ming and Qing dynasty furniture decorations from the many modern furniture designs that we are interested in. The Chinese dynasty furniture development has formed its own unique decorative style, such as concise Lines, bright patterns, gold lacquer paintings, lacquer lacquer, screw inlays, silver wire springs, and so on ... rich and beautiful. The design of modern furniture will be more elegant and classical after properly absorbing the above characteristics. For example, the pattern of ingenious designs such as “Five Blessings, Longevity,†and “Four Perfects†on the desktop of a circular coffee table with new sandblasting technology Use will make the coffee table look modern and simple.
Taking clothing as an example, the fabric patterns of traditional folk costumes provide a rich source of resources for the design of modern clothing designs. In recent years, there have been unique styles in which folk traditional patterns appear in many fashion contests. The reproduction of many folk art patterns such as sun, moon, stars, dragons, and mountains on modern industrial products and costumes shows that people recognize the formal beauty of the folk art and the connotation of the blessing.
Taking the design of merchandise and advertising as an example, many traditional patterns of folk art such as Double Wind, Pisces, Lion Ball, Lotus Doll, Theatre Mask, etc., have been widely used in many commodity design, logo design, packaging design, and book design. use. Many advertisement posters and album envelopes also use the form of folk paintings and facial masks, as well as simple lines and bright colors that are unique to new paintings and masks. Some television advertisements also use a large number of folk props in order to achieve the effect of communication with the audience on the cultural and psychological level.
Taking architecture and interior design as an example, China’s architecture and interior design have a long history. Compared with modern interior design, apart from differences in modeling, materials, and crafts, traditional architecture and interior design are in terms of taste, aesthetic interest, etc. Modern design is still connected. When people look for new forms of expression and expression of language, they often go to traditional or folk customs to find some inspirations, such as many building and residential buildings in Shenzhen, the nationalization and folk-customization and modern design of their architectural shapes. The large-area glass curtain wall and stainless steel often used combine to achieve unexpected results. In the modern interior design, it is supplemented with folk art styles and features such as lacquer art, pottery, embroideries, and murals. And so on, it also has the effect of complementing each other. The lobby of Beijing International Hotel, which is modern and stylish, has a large lacquer mural “Feast and Musicâ€, which is a good example of the elegant, classical and stylish atmosphere of the hall.
Finally, taking the author's award for a set of folk art match design that has won many awards at home and abroad, this set of artistic matches consists of an outer package and ten inner packages. The outer package is a drawer flat cuboid, which symbolizes the former used by the Tu nationality; the ten embroidered articles on the ten inner packagings are all simulated according to the shape of the actual object, combining the well-informed folk art appearance image with the opening and closing book packaging. Focused on the local ethnic characteristics, narrow small box ridges, respectively labeled with the name of the various ethnic embroidery products such as the Tibetan elms, the socks of the Hui nationality, the Tu’s waist-leader’s boots, and the Han nationality, etc., Open the cover page, and there is a green Chinese auspicious pattern "plate length" in the center of the box, which means that happiness is always happy. The entire match inside and outside the packaging reflects a unified design style.
Reproduce the folk customs of folk embroidery, organically integrate and unite traditional folk art with modern design. This is the main idea of ​​this package design. Folk art has always been bold, strong, stimulating, and emotionally conveyed in terms of color. It's plain and simple. In the color of this package design, I boldly learn from this feature, using non-red and black, non-black and white, yellow and green understatement. Blue and purple embellish the outline, making the personality and the whole not only related to each other, but also have their own characteristics, such as the outer box of the box at the end of the red, white and black, the inner box of embroidery embroidery "bottom" and pattern color, are strongly contrasted Full and gorgeous, the small package has a rustic atmosphere. Patterns are fruits and vegetables, and they are all things related to people's lives and interest. They are bright, lively, and highly random. There are various patterns in the inner box and the outer box, two continuous Yan maps, auspicious clouds, and the lotus lotus and fish of Qifeng, the rich peony, the cold plum of Aoxue, and the pair of life peaches of Fenggaotang, etc. Seemingly careless, in fact, very savory, rich in content. Even the little dashed lines on the box symbolize the stitches that are hand-sewn when they are stitched together. The set of match packaging design has an eye-catching title “Chinese folk embroidery art matchesâ€. This line of words blends in harmony with the colors of the picture. The friendly and popular slogan “Knowing... Love... Treasure†seems to appear in the line. Inducing people: Just open the match box, you will understand the rich appearance of Chinese embroidery, and know the autumn leaves. Thanks to the meticulous arrangement of slogans and the emotional transmission of folk embroidery's artistic language, the design of this artistic fire purple is far beyond the match itself. It integrates folk custom, culture, craftsmanship and decoration. It is both traditional and rigorous and modern. Its artistic value is self-evident.
In the Fifth National Packaging Design Competition, this set of artistic matches
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