Fortunately, it grew up in the fertile land of China, which has a deep cultural heritage and can rely on the growth of ancient history and culture. One of the significances of retrospective study of the history of Chinese aesthetics is that it has the practical significance of advancing modern aesthetics and injects cultural vitality into modern design.
With the advent of a new civilized course, the design has been filled with all aspects of our lives with its unique charm and indispensable cultural role, and it has also profoundly influenced the rapid development of contemporary culture and science and technology. The earth has become smaller. Design also seems to tend towards a kind of co-ordination or internationalization. The inevitability of design reveals the traces and commonalities of the times. With a new attitude and new cultural significance, it will show its style and be integrated into the grand mainstream of world culture. It will also reflect the atmosphere and wisdom of the times.
Design needs a kind of idea, but also needs a kind of cultural consciousness. It is the mainstream of design, and it can also reflect the designer's own heritage. Therefore, immersing itself in a profound cultural heritage, facing the rapid development of the design world, adopting the essence of historical culture, broadcasting the spirit of design culture in the era, and spreading the national culture with a new attitude and a high cultural point of view, thus showing its true charm. This is the era mission of contemporary designers to integrate brilliant traditional culture with modern civilization.
Tracing the history of Chinese aesthetics, I feel inspired by the proposition of “vivid rhymeâ€. This was first mentioned in the painting of the “Six Laws†in the “Paintings of Ancient Paintings†(formerly “paintingsâ€) by Xie He’s painter Xie He.
“What is the law of six? The rhythm of life is also vivid; bones use the pen is also; should be the object shape is also; with the class of mining is also; operating position is also; transfer model is also written.â€
The “six laws†were praised by the former as “not easy for thousands of years†and “unchanged throughout historyâ€. They have a great influence on the history of Chinese painting, and the influence of “vivid and lively†is particularly significant.
"Qi" is transformed from the category of philosophy to the category of aesthetics. The category of "qi" has occupied a very prominent position in the pre-Qin philosophy and Han philosophy. Lao Tzu already had a discourse about Qi: everything and life are "qi." In addition, Mencius, Zhuangzi, Xunzi, Huainanzi, Wang Chong and others all talk about Qi. Such as "Huainanzi" and Wang Chong's philosophy of natural philosophy. These discussions have a greater impact on thinkers during the Wei, Jin and Southern and Northern Dynasties. Ruan Ji, Ji Kang, and Yang Quan inherited Wang Chong’s philosophy of natural philosophy.
The aesthetic concept of "vigorous and lively" is produced under the influence of this philosophy of naturalistic naturalism. The great development of literary criticism and aesthetic theory in the Wei, Jin, Southern and Northern Dynasties also required an aesthetic category to make the highest generalization of literature and aesthetic issues. In this way, “qi†is transformed from a philosophical category into a category of aesthetics, and thus, the philosophical vital energy theory translates into aesthetic vitality. "Qi" as an ethos of aesthetics contains three aspects:
First of all, “qi†is a category that summarizes the original art. That is, the cosmic vitality constitutes the life of all things and promotes the change of all things. Thus sentimental sentiments have produced art. Therefore, works of art must not only depict various objects, but also describe the “gas†as the noumenon and life of the universe.
Second, "qi" is a category that summarizes the artist's vitality and creativity. The artist's artistic creation activity is the transportation of “qiâ€. It is both a physical activity as well as a psychological and spiritual activity. It is the coordinated activity of the entire body and mind.
Moreover, “qi†is a category that summarizes the life of art. “Qi†not only constitutes the noumenon and life of all things in the world; it not only constitutes the artist's vitality and creativity; it also constitutes the life of artistic works.
It can be seen that "vivid and lively" is not an isolated proposition. The word “vivid†is a description of “qiyunâ€, and the key is “qiyunâ€. The “qi†of “Qiyun†is understood as the vitality of the picture, and it is the product of the combination of the strength of the universe and the vitality of the artist himself. The vitality of the picture is also the life of art.
"Rhyme" is not a regular understanding of the rhyme, rhyme, or rhythm that conventionally refers to. The "rhyme" of "Qiyun" is a concept derived from the human algae of the time. It refers to the appearance of a person's inner personality and mood. It is not the general image of a character but the aesthetic image of a character.
"Rhyme" and "qi" are inseparable. "Yun" is determined by "qi", and "qi" is the ontology and life of "rhyme". "Qi" belongs to a higher level. In the Ming Dynasty, Gu Ningyuan's "painting cited" said: "Six methods, the first rhyme is vivid. With the rhyme, there is vividness." With "qiyun", the painting has a life and the image image is alive. With "Qiyun", the screen image naturally meets the "shape" requirements. Because of the ethos and charm of the people with "Qiyun" requirements, people's graceful appearance can not be separated from the natural image of human beings and beyond the natural image of human beings.
Today, the intrusion of Western culture provides a reference system for national traditional culture. With western culture as a reference system, one can clearly recognize the cultural and artistic symbol of the nation in comparison so that it can be promoted in artistic practice.
Since Chinese art pays attention to the inner feelings of the works, Western art pays more attention to the stimulation of physiological senses. This difference in cultural spirit affects the different aesthetic modes of Chinese and Western design. Especially in the category of "qi" it provides a joint point. Chinese culture begins with Lao Tzu, and there is a discussion of "Tao", "Qi" and "Xiang". Laid the pursuit of "qi" in Chinese art. Qi is understandable and ignorant. The ambiguity is ambiguous, but it seems that it can be grasped; therefore, the air in Chinese art transcends form and color, relies entirely on divine will, thus adding to the mystique of Chinese art.
Today we can also see the designer's pursuit of gas in the design from many of China's outstanding design works. Mr. Qiang Qiang, a well-known Hong Kong designer, has a deep understanding of the integration of traditional culture and modern cultural design concepts. The design of Mr. Qiang Qiang is deeply influenced by Chinese traditional paintings. He has the essence of Chinese ink painting and adopts traditional art. Lingyun. In his works, we often see the ingenious combination of traditional symbols such as “ink painting†and “flying white†with modern graphic elements, and feel that his works reveal elegant, fresh and modern literary temperament. The emblem he designed for the Bank of China, in addition to reaching the international level, combined the combination of ancient money and the word "zhong" to create a simple and contemporary corporate image. It not only has the most basic requirements for trademark design, but it also implies the profound charm and symbolic meaning of traditional culture, and it also arouses public resonance.
Mr. Qiang Qiang is rich in ethnic design and perfectly demonstrates Chinese style. In the Yuen Long Ronghua food series packaging design, the trademark uses the moon's circle and the cake's square to make a geometric shape, and the middle overlaps the peony flower pattern. The pattern's expression technique uses the traditional Chinese rejuvenation technique and is extremely ethnic. And without losing the modern sense. In the design and color matching of the packaging box, the veins are connected and the Chinese traditional charm is subtly blended into it, just right. Series packaging allows consumers to perceive the "qi" movement in the flowing sight and realizes a virtual beauty. The beauty of this style is not found in Western design. In many domestic designs, it can be seen that the unique brush that resembles Mr. Qiu has been brushed across the rivers and rivers, deliberately imitated, and pursues formal charm, but loses his own personality. This kind of thinking means that the use of Chinese characters, Chinese subjects, and traditional patterns to express works and reflect national charm is one-sided. Sheikh put forward the "vivid and lively spirit" to pursue the realm of "god" and "wonderfulness". It is the recognition of the cultural spirit and the need to realize the spiritual value of the self. It enables the image of the screen to lead to the ontology of the universe and life. ". This is the unity of infinite and finite, imaginary and factual.
Sheikh put the "vivid rhyme" on the top of the "six laws", indicating that this is the general principle and the general requirement of painting creation. The spirit of Chinese aesthetics focuses on the entire universe, history, and life and focuses on the entire nature. It requires the artist not only to represent a single object, but to have a strong sense of the universe and to think through the ages; the realm of artistic works must contain profound connotations, not just depicting individual human bodies or objects. Therefore, any deliberate pursuit of mere formality is superficial.
In terms of the development of today’s design business, many designers have experienced three eras: the original design was completely influenced by Western ideas; in the 1970’s, attention was paid to the needs of the local market, and local people’s livelihoods and cultural features were added to the design; It also expands the creative space to the international level and infuses the charm of traditional Chinese culture in today's designs. Unlike the previous period of time, it simply follows the West’s simple pursuit of visual impact, instead of simply pursuing visual sensory stimulation, but looking for oriental charm from form to color, focusing on the connotation of Chinese art and culture, and focusing on cultivation. Inheritance is full of vitality, but it also permeates profound cultural cultivation and character style. For example, in the modern book design of Mr. Lu Jingren, designers can see that they pay attention to the understanding of Qiyun. The pursuit of “qi†is not merely a return to the kind of kinky, disdainful bookishness in ancient book installations, but the pursuit of transcendence above books. In his design, he can see the progress of design concepts, and he has become increasingly integrated and deeply involved in every space such as cover, ring lining, leikou, page title, and spine. And in the process of reading books, with the shift of line of sight to form a sense of movement of Qi Yun, people at the same time the beauty of the five senses:
Visual beauty (attracting from book design),
Tactile beauty (from the paper's texture, weight, texture, flipping touch),
Reading the beauty (the beauty of knowledge),
Hearing beauty (voices of books)
Smell the United States (natural flavor of ink, paper).
The design of the book is infused with the compatibility of tradition and modernity, creating a sense of atmosphere and sense of the times. It also transforms the language of literary arts into a form of expression of vitality that conveys the content of the book and the tremor of the inner spirit. force.
It is true that the return of the verve, taste, and charm in graphic design is based on the full absorption of Western design forms. It discards the negative, conservative, and wilting aspects of traditional Chinese culture, and incorporates strong Western designs. The positive cultural spirit has enabled China's design to reach a new level. With the advent of the network information age and high-tech means, designers can mobilize all kinds of visual symbols and elements as they like, designing and brewing a mysterious oriental charm, and radiating a contemporary sense that transcends time and space.