Chinese Art Spirit and Modern Design Ideas (1)

Understanding traditional art spirit from the perspective of design The development of traditional Chinese aesthetics aesthetics design aesthetics in the West Enlightenment of Chinese traditional art spirits on modern design I. Understanding traditional art spirits from the design point of view Go Top
To understand the traditional Chinese artistic spirit, we must grasp the characteristics of the historical development of Chinese aesthetics:
1. In the history of China, since the pre-Qin philosophers, from Wang Chong and Liu Ye from Hanwei to Wang Fuzhi and Ye Dai from the Qing Dynasty, many philosophers are also esthesiologists. There are many in their writings. Aesthetic thinking. In addition to philosophers, the famous poets, painters, dramatists, calligraphers, etc. left behind in the poetic theory, painting theory, theatrical theory, calligraphy theory, music theory, also contains a wealth of aesthetic ideas, and often aesthetics The finest in thought history. These valuable spiritual heritage materials are rich and cover a wide range and are worthy of a good study by modern designers.
2. Chinese traditional arts (poetry, painting, drama, music, calligraphy, architecture, etc.) not only have their own unique system, but also affect each other's traditional art, influence each other, and even include each other. For example, in poetry and painting, the beauty of landscape architecture or the beauty of landscape architecture can be found, and landscape architecture is influenced by poetry and painting. Each art has its own unique beauty, but also has many similarities and similarities in aesthetics. This feature allows designers to access the essence of Chinese traditional aesthetic concepts more broadly beyond the scope of traditional craft products.
3. In addition to the theoretical form of aesthetics, a large number of craft products created by ancient working people also embody abundant aesthetic ideas. Although the craftsmanship of creation has been attributed to the category of "down and down" since the early Qin dynasty, but from the advanced skills of the ancestors' skilled craftsmen, they still displayed their artistic ideas and the ideals of beauty. They were created according to the laws of the United States. The ancients emphasized that "technical progress", which can be attributed to the laws of "beauty" in the art of actual operation. The deification of craftsmanship, in the way, but also out of the road, the road is the basis of technology, technology is the external manifestation of the Tao and inspire factors. This dialectical relationship between Tao and technique should be grasped by modern designers.
The development of Chinese aesthetics can bring us rich aesthetic thoughts, diverse traditional cultures, and further understanding of the laws of craftsmanship, design, and beauty, and can provide us with many new inspirations. This will be of great benefit to pushing theoretical research into a new height and inspiring actual creative ideas.


Second, the Chinese traditional aesthetics thinking Go Top
The starting point of Chinese aesthetics begins with Laozi aesthetics. For thousands of years, a large number of philosophers, estheticians, and artists have continued to explore in this area, thus forming a profound and profound Chinese aesthetic system. It contains the traditional essence of Chinese culture, and it influences the people from the thought to the behavior.
The Idea of ​​"Harmony" in Traditional Aesthetics. Starting from Plato, Western culture has always been subject to the distinction between subject and object. Therefore, the prominent feature in Western aesthetics is "being individual as the beauty," emphasizing visuality, vividness, and novelty. It is believed that this is an important attribute of why the United States is beautiful. In other words, "Western aesthetics appreciates 'individual' and 'partial'." Different from western people's aesthetic taste, Chinese traditional aesthetics emphasizes "integral consciousness" more. The concrete ideological expression is "taking peace as the beauty."
This overall consciousness in Chinese aesthetics is based on the overall view of philosophy. In accordance with this holistic view, the world is a vast system of all things covered with everything. During this period, all things are appropriate and each has its own place. There is absolutely no other Lingyue existent. At the same time, it is also an interchange. In the system, all the existence and the sexuality are the same as each other, and they are mutually exclusive and mutually exclusive, and they can be completely independent. "Better" and "beauty" means aesthetic creation and evaluation. It is necessary to have an overall awareness of "harmony" instead of "dividing." For example, the unity of heaven and man, the unity of knowledge and action, and the “situation of scenes” pursued by the ancients are the embodiment of the overall consciousness.
(1) The emphasis on "harmony" of Confucian aesthetics was passed down by Confucius. Confucius said: "The use of ceremonies is a matter of harmony." This is the starting point of Confucian aesthetics represented by Confucius. The center is to explore the role of aesthetics and art in social life. Confucius believes that aesthetics and art can play a special role in the subjective cultivation of people in order to achieve the spiritual realm of “benevolence.” There is an important internal link between aesthetics, art, and the political customs of society. In order for art to have an active role in social life, art must be regulated. Art must meet the requirements of "benevolence" and must include moral content.
In The Analects: "Self-denial and Reciprocity are Benevolence." Confucius also said: "The gentlemen who are not benevolent have cowards, and there are no villains but benevolents as well." From this point of view, "benevolence" is a natural moral attribute. Confucius aesthetics here emphasizes moral issues in aesthetics. Combining morality and aesthetics is the biggest feature of Confucian aesthetics. "The Analects of Confucius" has the words "sub-predicate": "To make the best, and to do good." "Wu": "The best, not the best." Confucius believes that music not only meets the requirements of formal beauty, but also meets moral requirements, while Wule does not fully meet the requirements of morality.
It can be seen that art contains moral content to cause beauty. Therefore, Confucius emphasized that art should include moral content, emphasizing the unity of "beauty" and "goodness," and "harmony." The unity of "beauty" and "goodness" means, in a certain sense, the unity of form and content. "Beauty" is a form, and "goodness" is a content. The form of art should be "beautiful" and the content should be "good". Therefore, there is a saying of "doing it well."
Confucius's proposition of "gentlemanly and pleasingly" further demonstrated the relationship between "beauty" and "goodness". "The Analects of Confucius" records: "The Analects of Confucius" records: "The quality of the text is wild, the quality of the text is the history. The character is gentle and then the gentleman." This is of course a self-cultivation issue. "Quality" refers to the person's intrinsic moral quality. Refers to people's ornaments. However, the proposition of Confucius was extended to the field of aesthetics. The unity of "Literature" and "Quality" means the unity of "beauty" and "goodness." The idea of ​​Confucian aesthetics has a great influence on the history of Chinese aesthetics and even the traditional cultural system. The estheticians and artists of the past have dealt with the relationship between the content and form of art. Most people advocate the unity of content and form, and oppose the two biases of “quality and success” and “literacy and quality”. In Chinese traditional works of art, few examples can be found that are inconsistent with the quality of the text. Artists use a very subtle and elegant approach to blend "text" and "quality" together. According to this kind of "good and unification," Confucian aesthetics established its own aesthetic standard of art: "and."
The aesthetic thought of "harmony" promoted by Confucius has a profound influence on later generations. Many artists' aesthetic ideals and aesthetic tastes are based on the word "and". Ancient Chinese artists have always been committed to the creation of "being the whole as the United States" and regard heaven, earth, people, art, and morality as a vibrant organic whole. Only "and" can have beauty, "He and Fome." Therefore, what Chinese art pays attention to is not like the static sculpture of Greece. It is only an isolated personal life, but it focuses on the brilliance and vitality of the entire life flow. In the minds of ancient artists, "harmony" is the most normal state, most true state, and most vital state of all things in the universe, and therefore it is also the most beautiful state. So they said: "If you are a real creature, you will not follow." "And" is inclusive and rich, so it is beautiful. "Using harmony for the sake of the United States" means enriching for the United States and diversity for the United States. This is another layer of "harmony".
Applying the concept of "harmony" to the creation process is mainly reflected in the appropriate combination of form and function. In the history of Chinese design, the design of lacquerware and porcelain was the most representative interpretation of this view. Lacquer craftsmanship in the Qin and Han Dynasties in the design, decoration, craft materials and technology and other aspects reached a very high level, it has a light, beautiful, durable and luxurious features. In order to meet the needs of life, ancient craftsmen designed a multi-functional, combined, serialized lacquerware products. The lacquer enamel unearthed from Mawangdui was finely made and decorated beautifully, showing a high degree of design ingenuity and rationality of function. The design of lacquerware combines the practical and aesthetic functions perfectly. It has both good usability and operability, as well as diverse shapes and decorations. The same is true for the design of porcelain, with beautiful shapes, proper scales and exquisite craftsmanship. The harmonization of design and purpose of use, the diversity of modeling and decoration under the overall effect, creating a practical and aesthetic model.
The concept of "harmony" also requires that all technological products should be both carnal and spiritual, and achieve the dual efficacy of "body comfort". In this regard, not only Confucian aesthetics but Taoist aesthetics also advocate spiritual and physical support, and beauty and goodness.
This kind of "comfortable and comfortable" and communal and imaginative demands set forth the ideas, techniques, and forms of expression of ancient craft design. Therefore, paying attention to harmony in ancient craft products, stressing temperance, and overemphasizing certain aspects of design, will inevitably lead to "disharmony." This is why the aesthetic tastes of ancient Chinese artists are seldom pointed to the things like “five colors,” “five sounds,” and “five tastes,” and the root causes of more objects such as "simple" and "dull." . The specific expression in artistic creation and appreciation is the aesthetic pursuit of "Chang Qing". In this sense, the Chinese ancient aesthetic requirements for "introversion" are the conscious requirements for the unity of beauty and goodness. Compared with the aestheticism and fragmentary thinking in the western aesthetics, it is a more objective view of the world. Perspective.