Art-a noun that can be used as an object.

Design verbs that can be used as subjects.

I accidentally read an article "Art is Me, Design is Him" in the newspaper Su Da Art Garden, and the views expressed in it explained the difference and significance of the two concepts of art and design to some extent. So I have partially clarified my vague understanding of art design. As early as a few years ago (or until now), artists in China have been arguing about the relationship between the two. Whether design is art or not, whether design and art can be the same, has always been the focus of attention. Art Watch has also discussed this issue. Throughout the past decades, the gradual transition and differentiation of concepts such as "decoration", "decorative art", "arts and crafts", "practical art" and "art design" in domestic arts and crafts circles reflects the process of the changes of the times and the deepening development of social understanding of art design. Some people say that design itself is a problem, and art does not need to solve problems. The connection and difference between the two is similar to "art is me and design is him". So where is the relationship between the two? How to deeply understand and reposition the relationship between art and design? In this article, I dare to say my own understanding. Although there is a suspicion that rabbits talk about death, please criticize and correct me.

First of all, I will talk about three concepts: "art design", "design art" and "art and design". It is difficult to see "art design" or "design art" in English, but "art and design" is widely used, such as Finland University of Art and Design, Columbus College of Art and Design, etc. If it is said abroad, it should be more accurate to say "art and design". From this point of view, art and design go hand in hand in the world, which embodies the characteristics of both connections and differences between the two disciplines. The art here covers a wide range, such as art, architecture, opera, film and television, music and so on. And design includes all design ranges from handicrafts to industrial design. Such a name covers a wide range and is reasonable. Moreover, in English, "Art" and "Arts" also have subtle explanations. The names of western universities are mostly "art and design", not "art and design". In fact, "art" in English reflects handicrafts, not all kinds of arts. Of course, China has the national conditions of China, so there is no need to translate everything directly. (Reference: Thoughts on Art and Design, Cai Jun)

At present, there are two main explanations for "art design" in China. One is the abbreviation of "art and design" or fuzzy thinking, omitting "harmony". This method is general, but the expression of the relationship between art and design is not clear. One is the "national" interpretation of design by design educators at the current specific stage in China. The so-called "localization" explanation means that people are still stuck in the concept of "arts and crafts" and lack a comprehensive understanding of the definition of "design", which makes it easier for people to accept this concept. But in the word "art design", "art" is just an attribute, which itself becomes a modification of "design". At the same time, "art design" is the best interpretation of the past concept of "decoration". For example, the department of interior decoration in the past was renamed the department of environmental art design. At a deeper level, this concept reflects the understanding of design by a group of contemporary arts and crafts scholars in China. In the past, some scholars thought that only arts and crafts had no design, and the so-called design was just "modern arts and crafts". Although this view has changed with the passage of time, it is considered that arts and crafts are a part of art, and it is better to call it "design art" if it is to be included in the category of "design".

This is only divided from a separate level, and there is a serious compromise attitude towards the straightforward adoption of the concept of "design". Ignoring the catalytic and promoting role of design art genes in the process of artistic development. Although design art and art design are often regarded as synonymous terms, they are often used interchangeably even in some formal academic discussions. However, to learn design art, the first thing to pursue is the truth. However, in the cultural sense of our country, design art has a relative boundary, which can cover both spiritual art and materialized art. From the perspective of cultural development, design art is a relationship between raw material processing procedures and finished products in the process of artistic development, and it is precisely because of this relationship that a special and realistic way of existence has been formed. Like people's visual thinking, aesthetic views and physiological needs, design art runs through the creation of artistic works. From ancient times to the present, from primitive to mature, in the form of development, it belongs to the longitudinal state of time dimension and tends to the incubation period. Different from design art, art design belongs to the research category of the present situation. It belongs to the horizontal state of spatial dimension. Tending to explode. It can be said that when the design art is in the opportunity of horizontal development in the spatial dimension, the greater the attention to it, the greater the attention, and the incubation period will break out accordingly. In fact, the collision between Chinese and western cultures in which we are currently located is the breaking point of the development of design art, which is also one of the reasons for the dispute between art and design.

Secondly, from the relevance of early design and art, we can see the tasks they carry today.

Art for me-is a very personalized self-expression behavior.

Design for him-based on solving the relationship between people and things. ③

As a cultural phenomenon, the change of design reflects the level of material production and science and technology of the times, and also reflects the situation of certain social ideology, which is closely related to social politics, economy, culture and art. In primitive times, most artifacts were both works of art and handicrafts. Most of the artifacts in this period were not purely based on aesthetic motives, but focused on their usability in real life. The latter is the main one, and the aesthetic requirement is only to satisfy the secondary desire. The art before the Renaissance in the Middle Ages can be said to be mostly embodied in architecture, and the most prominent in this period is church architecture, which combines various arts. Painted glass, altar painting, mural painting, reproduction painting, Buddha statue, sculpture, Datura, etc. Not only artistic expressions are used in church buildings, but they are also regarded as objects of spells and beliefs. At this time, art and craft are always inseparable from life.

In the production and creation activities of human beings, the combination of practicality and aesthetics endows objects with both material and spiritual functions, which is a basic point of human design activities. With the development of production and social division of labor, design and art began to separate into two different independent systems. However, no matter from the perspective of design or from the development track of art, design and art have always influenced, infiltrated and interacted with each other. For example, Leonardo da Vinci, a great Renaissance man, was not only a painter, but also a sculptor, architect, meteorologist, physicist and craftsman. Meanwhile, Michelangelo, Diu Lei, etc. They are all versatile and knowledgeable. During the Renaissance, although art and craft were separated, they were still inextricably linked.

With the same spatial behavior of time and energy, art has gradually transformed into an independent ideology, especially in today's so-called pluralism, which is an all-encompassing ideology. (There are even a series of arts made by some pseudo-arts under the banner of art) Since consciousness needs the existence of expression forms, it objectively needs the existence of audience groups to produce artistic songs through the communication process between them. So as to further explore the inner voice of people and release it. To be clear, this voice is emotion, and releasing this emotion is emancipating the mind. Whether this thought is mild, decadent, conditional, depressed, painful or radical, progressive, accidental and exciting. It is a part of the formation of human feelings. Let individuality exist in its nature. No personality and no sex. Maybe that's why.

When it comes to "personality", people may intuitively think that it is an artist's nature or talent. There seems to be some truth in calling artists without personality experts and craftsmen, and even finding it difficult to be elegant. However, the blind pursuit of individuality cannot be restrained by * * as a result of weird, evil and conscious people, and cannot be regarded as an artistic act. This is a physiological problem that doctors have to solve, and art has no way out.

I remember I once read a story about the famous painter Shi Guoliang. At a party, a female painter with a strange painting style (I heard that she is also famous) took her daughter, who was of course beautiful. So she smiled and asked Shi, Do you think my daughter is beautiful? Stone said, "Just like your painting." At that time, the painter looked unhappy. It is not difficult to see what the so-called painting language of this female painter is. She is doing herself for others, grandstanding, mystifying, not without speculation. Art is for me and for him, and personality is for sex, so as to achieve the sublimation of human spirit, which is the real purpose of art.

The picture (or scene) effect is an empty pursuit of visual effects, and the audience just assumes the role of joining in the fun. I think it is difficult for artists to communicate with others, let alone sing artistically.

Art is for him, and design is for him to have me. Anything of value has its use value, and it is the same in art, but the form of value expression is different. The value of artistic works is realized and completed by using value. The use value of art is the ringing process or cognitive process of the times when the works are produced by the audience. Without this process, its value cannot be reflected. That is, worthless existence. Art belongs only to me, and design belongs only to him. One-sided embodiment, it is difficult to make an independent concept of art design. Everything is contradictory, and seeking unity in contradiction is the basis for the development of everything. China advocated "Yin and Yang complement each other" in ancient times, so that everything could be unified. I think that's the reason.

Design is a term that only appeared in China in recent twenty or thirty years. It used to be called "management, layout and construction". In front of me, I proposed design to solve the problem, and design itself is the problem. To put it bluntly, it is to solve the problems of human life, for him and for the target group. So if you want to make a design, you must understand the market, science and target group. These are not enough. More importantly, the designer's personal thinking and the refinement of design are combined, that is, for him and me, they are one. Otherwise, just because he doesn't have me, I will believe that all designs in the market and life will only produce a pattern and lack variability. It is precisely because art exists for me and him and design exists for him and me that the human spirit is rich. The diversity of knowledge structure makes life as colorful as possible.

Third, the influence of cultural differences between China and the West on design thinking.

Evolution —— The Cross of Western Speculative Culture

Circle Theory —— Taiji Diagram of Oriental Doctrine of the Mean Culture

The development of art coincides with the development of culture. As we all know, the difference between Chinese and western cultures lies in people's epistemological basis and behavior. China culture has been lurking in the unified doctrine of the mean for thousands of years. Taoism and Confucianism occupy the mainstream of oriental culture. Infinity begets Tai Chi, Tai Chi begets two instruments, two instruments begets four phases, and four phases begets gossip. This primitive epistemology is accurately recognized in the fuzzy logic method of "there is real meaning in it, I want to demonstrate but forget what I said". Perfect and practice the circulation theory under the traditional culture of China. Isn't this concept of reincarnation the power source of ancient and even modern idealistic art theory? The development of art develops with the movement cycle of time dimension. We call the first stage in the picture 1, which corresponds to the ancient simple philosophical thought: long-term separation must be combined, long-term separation must be combined, followed by the mature stage, sublimation stage and finally back to the decline stage. This cycle, complete a cycle. This is a clustering profile analysis, but we ancients were more confused, and combined this arc of words, images and meanings into a Taiji diagram with no beginning and no end. If Taiji diagram is the symbol of oriental culture, then the symbol of western evolutionary culture can be represented by a cross. I'm afraid this quadrant thinking mode is difficult to explain the determinism of the alternation of old and new history, which is difficult for people who are used to the "sphere theory" in the East. However, if you have something, you will lose, and if you have something, you will lose. Quadrant theory adopts the intuitive framework and coordinate formula of formal evolution. It reveals the historical quadrant of the cultural development process, which is independent of human will and can only be answered rationally in human activities. The earliest formation and development of western design art is the result of this rational answer. People look at artistic creation on the basis of rationality, and in this process, process and activity, they feel and look for some definite and unchangeable ultimate factor purposefully and regularly. This way of thinking, in the cultural environment of "sphere theory", people will not consider it this way, nor do they want to consider it this way. In this way, in a certain historical sense, the western design art is earlier than our country.

Now comparing the two on the same interface, circle theory sees the relativity of motion. This two-dimensional movement is reflected in the same direction in one dimension, or it can be different. This ideology can only be intuitively perceived, and the relationship between subjective and objective is empirical, not prescriptive, and contains idealistic elements. The theory of evolution sees the absoluteness of motion (matter is in motion), which is a cross graph. As far as image is concerned, opposites are obviously irreconcilable, with ups and downs, advances and retreats. This absolutely eternal movement attribute must be grasped by rational thinking, and the relationship between subject and object is prescriptive and affirmative. Driven by this theory of evolution, the relationship between matter and consciousness becomes clear, with obvious materialism. Materialism holds that matter determines consciousness, and consciousness reacts on matter. This dynamic response of consciousness aims at solving the relationship between people and things. That is, design, a specific gene that is easily perceived by logic.

In the ancient oriental civilization, there has never been a philosophy of opposites between matter and spirit. The unity of Brahma in India and the unity of opposites between Yin and Yang and Tao in China have become the main forces of thought. There is no scientific explanation for Brahma and Yin and Yang, and there is no such requirement. The essence of culture can be simply understood through the two cultural phenomena of evolution theory and circulation theory. Generally speaking, orientals attach importance to sensibility, while westerners attach importance to rationality, which is one of the reasons why modern science comes from the West. Westerners like to analyze things by statistics, calculation, induction, deduction or synthesis, while China people prefer to recite poems and make endless associations in order to gain perceptual gains. However, we have to admit that although there is no such requirement, it cannot be said that there is no such consciousness, but there is no regulation and no systematic record. The following analysis may explain the existence of this gene.

Vertical and horizontal relationship of design in the process of artistic development

Art-originally a "design" based on practicality and aesthetic processing.

Design will always be an "art form" with practical value under the guidance of artistic aesthetics.

After reading the above two sentences, you may not feel the complementary relationship between art and design. You know, art and design are both human art and design. Gombrich once said such an extreme sentence: "In fact, there is no such thing as art, only artists." There is no doubt that the subject of art can only be artists or works of art, and the law of art history can only be the law of artists' participation and intervention in art. Whether it is the primitive art in the flood era or the modern art in today's civilized era, it is produced in the process of * * * communication between people and times, that is to say, no artist can represent the artistic style of his time, and artists and works of art are restricted by politics, economy and artists' own limitations. After all, art is not a product without purpose. It can be seen from the initial artistic motivation. Judging from the conscious creative activities of human beings, the aesthetics of art is embodied by the creation of the first tool. Most artificial products, such as kitchen knives, javelins, bone needles, animal skins, pottery, etc. , both handicrafts and works of art (artifacts and handicrafts are still collectively referred to as decorative handicrafts). However, most of the artifacts in this period were not purely based on aesthetic motives, but focused on their usability in real life. The latter is the main one, and the aesthetic requirement is only to satisfy the secondary desire. With the development of society and the progress of science and technology. Metallurgy, papermaking, printing, textile, navigation, machinery industry and modern electronic industry are gradually emerging, and at the same time they are also reflected in the vigorous changes and innovations in art, so different artistic styles will be produced in different time and space particles. Today, when we are about to enter the 2 1 century, the concept of "design" has been more and more recognized and accepted by people. The concepts of graphic design, industrial design, environmental (indoor) design, clothing design, ceramic design and urban design are well known. Therefore, looking at the development history of industrial design, we can easily see that design and art have experienced the initial integration, and gradually formed their own different professional fields, until today it has developed into a new integration of design, technology and art. Art exists in the whole design process, so we can't emphasize functionalism in isolation and ignore the influence of art on the product itself. At the same time, we can't ignore functionality for the sake of expressing art too much, and art and design must be perfectly combined.

The above is viewed from the vertical direction, so what is it like from the horizontal direction? We might as well cut a paragraph in the current artistic time dimension to study it.

Design will always be an "art form" with practical value under the guidance of artistic aesthetics. Based on the relationship between people and things, subjective and objective, it is a dynamic expression of the interaction between genes and media, ideas and forms, feelings and expressions, and subject liberalization and object liberalization. There are only a handful of eight artistic classifications, which are closely related to each other. Like baking powder in long-term artistic practice, these contact points are accompanied by the initiation, maturity and sublimation of artistic motivation. Under the alternation of time dimension and energy state, the ideology spread by * * * is formed, which is called artistic consanguinity or kinship for the time being here. It is immaterial and exists in the form of consciousness. If it is clear, this genetic feeling is the relationship between design factors. He is a design art in artistic form and a design concept in thinking.

The independent circles in the picture represent an art category (three for easy identification), but each art does not exist independently. This interlocking form of existence implies an ambiguous relationship between art and art, which can also be explained in the whole cultural gestalt constructed by cognitive, ethical and aesthetic modes of existence. Our understanding angle should start from the material materials that constitute works of art, which are superficial and intuitive, such as pigments and paper in painting; Combination of building stone, wood and steel; Sound, light and electricity of film and television. From the point of view of this substance, it exists independently, in a concrete form, and can be perceived by vision or hearing. But seeing here, we still can't explain that design will always be an artistic aesthetic-oriented "art form" with practical value. Now let's continue to look at the smallest and most concentrated part-aesthetic perspective.

Marx said: "Man is also built according to the law of beauty". This argument includes not only affirming the objective existence of beauty, but also creating such a materialistic and dialectical concept according to the objective laws and laws of beauty. It's strange. This familiar and unfamiliar experience properly reveals the important characteristics of works of art with modern factors. Excellent works with reappearance factors can have some appeal of aesthetic experience. Therefore, when we appreciate works of art, we often touch the special aesthetic feelings brought by reappearance and typical art. This "deja vu" experience perception is the expression of the power of beauty hidden in our hearts. Belong to human factors.

This is abstract and requires a certain cultural level and psychological experience perception, and different humanistic levels produce different experience perceptions. However, this process cannot be accomplished overnight, and a special technical means is needed to maintain the establishment of art forms, which is what we mainly talk about from the ethical perspective. From the ethical point of view, we can see that it contains many aspects, which is the most unstable and complicated part. It is an energy state factor, which produces different energy for different art classifications and delivers fresh blood for art regeneration. It is invisible, but it guides tangible existence. It is tangible and embodies an invisible force. Every work of art contains these two functions more or less, which plays a role in conveying spirit and material. A function based on solving the relationship between people and things.

However, to learn the art of design, the first thing to pursue is the truth of the established facts. However, in the cultural sense of our country, design art has a relative boundary, which can cover both spiritual art and materialized art. From the perspective of cultural development, design art is a relationship between raw material processing procedures and finished products in the process of artistic development, and it is precisely because of the stipulation of this relationship that a special and realistic way of existence is formed. Like people's visual thinking, aesthetic views and physiological needs, design art runs through the creation of artistic works. From ancient times to the present, from primitive to mature, in the form of development, it belongs to the longitudinal state of time dimension and tends to the incubation period. Different from design art, art design belongs to the research category of the present situation. It belongs to the horizontal state of spatial dimension. Tending to explode. It can be said that when the design art is in the opportunity of horizontal development in the spatial dimension, the greater the attention to it, the greater the attention, and the incubation period will break out accordingly. In fact, the collision between Chinese and western cultures in which we are currently located is the breaking point of the development of design art, which is also one of the reasons for the dispute between art and design.