Art design; Artistic style; mix together
The style of artistic design generally refers to the creative personality and artistic personality shown by artistic designers in their works of art, which is the overall demand and reflection of people's aesthetic concept, quality level and national culture in social life. For art design style, it involves the subjective aspects of the artist, such as the particularity of thoughts and feelings, personality temperament, life experience, cultural accomplishment, aesthetic ideal and so on. All these are influenced by the particularity of material civilization and spiritual civilization in the historical development of the country and the nation, as well as political, philosophical, religious and aesthetic thoughts. The diversity of artistic design styles also comes from the diversity of aesthetic needs. Due to the different social levels, cultural levels and age levels of the appreciation subjects, they belong to different nationalities and regions, which leads to different aesthetic needs, thus stimulating and promoting the formation of different artistic styles.
There are many reasons for the formation of artistic design style. First of all, art design, as a special spiritual production, will inevitably leave the artist's personal mark on the works of art. As the creative subject in artistic design, the artist's personality, temperament, talent and psychology will naturally be projected and cast into his artistic works, and the subject and object will be materialized into spiritual products through creative labor. Artists materialize the artist's personality characteristics and cognitive principles in the process of artistic design or in the works after creation. Artistic style is the era style and national style of design.
First, the era style
The time style of art is the reflection of science and technology, culture and aesthetic consciousness in a certain period and era, and the time style of art design is the materialized expression of cultural concept, aesthetic consciousness and value orientation of an era in design. Bronzes in the early Shang and Zhou dynasties were more decorative, with strong fantasy elements, more bizarre images, and quite majestic and powerful. Generally speaking, ancient Chinese bronzes are characterized by vivid modeling, fine ornamentation, clear inscriptions and gorgeous decoration. However, if we distinguish carefully, we can still find the distinctive characteristics of the times from the style of bronzes. The Shang and Zhou Dynasties were the heyday of China's slave society, and the bronze art reached its peak, especially in the late Shang Dynasty and early Western Zhou Dynasty, which was generally bulky, especially a "gluttonous" animal face pattern, which was both like a bull's head and a tiger's head, was a fierce beast and a horrible monster. It shows a mysterious power and a fierce beauty. It symbolizes the authority and order of slave owners' class rule and embodies the spirit of the times. It is in this cultural atmosphere that the "Ding" has a neat, standardized, organized and orderly modeling form.
For example, in China, although the Shang and Zhou Dynasties belonged to slavery, their cultural characteristics were different. The culture of Shang Dynasty is more prominently manifested in sacrifice, and its life content, material culture and spiritual culture mainly revolve around sacrifice. Therefore, the bronze wares of Yin Shang Dynasty have been greatly strengthened in sense of volume and strength to meet the needs of sacrifice. Although there were sacrifices in the Zhou Dynasty, it was different from the Shang Dynasty's "ghost before ceremony", but "away from ghosts and gods", which became a more rational ritual activity with rich ethical awareness and strict hierarchical concept.
Another example is the difference in design style and aesthetic characteristics of Ming-style furniture in China, which is also influenced by different cultures. Ming-style furniture was produced in the specific cultural and environmental atmosphere of private gardens in the Ming Dynasty, and the owners of many private gardens themselves were literati who could write good paintings. Based on the aesthetic requirements and standards of literati, they made an overall plan for the furniture design style in garden buildings, and some of them also participated in the design of furniture style. This not only makes Ming-style furniture exude a strong literati interest and scroll flavor, but also injects more literati cultural connotations. Ming-style furniture is a kind of materialization of Jiangnan literati culture in Ming Dynasty. Furniture technology in Ming dynasty reached a higher level because of the scale and simple and elegant beauty produced by modeling. The overall length, width and height of the furniture, and the balance ratio between the whole and the part are all suitable. Ming furniture was occupied and used by the feudal ruling class. For example, some chairs have high-width seats and handrails, which is inseparable from the feudal ruling class's requirement to "sit in danger" to show its majesty. Therefore, the formation of design style in each era is closely related to the cultural development at that time. The cultural atmosphere of an era is the soil for the design development of that era, and the artistic design of an era reflects the cultural features and characteristics of that era.
Religion is a complex cultural form, which creates a relatively independent religious culture, making religious culture a special form of world culture and a link in the development chain of world culture. In religious culture, there are various religious arts. Involving architecture, sculpture, painting and other arts. In the Middle Ages, a Bible was the treasure of the ruling class, and the place where culture spread was the church. The design of the church can best represent the western culture at that time. The Cologne Cathedral in Germany and Notre Dame de Paris are typical examples. They are all Gothic. From the appearance, its towering spire is awesome, and its cold walls and frame structure are shocking. The long, narrow and high space inside the church, as well as rows of slender columns, form a kind of dynamic feeling of soaring, which gives people the illusion of being beyond the world and approaching heaven. In addition, the Christian story painting on the inner wall or glass window of the church adopts the window design of colored glass mosaic, and the glass mosaic with the theme of the Bible is mainly configured in red, blue and purple, creating a strong religious atmosphere.
The birth of "Baroque" art in Europe was a cultural phenomenon at the end of16th century, and it flourished at the beginning of17th century to18th century. Baroque art abandons the rigorous and harmonious classical style and devotes itself to creating a magnificent, plump and realistic artistic realm full of strong movement and saturated color.
The word "baroque" means "deformed pearl". It opposes the humanistic tradition of pursuing high realism, harmony and dignity formed during the Renaissance, and pursues gorgeous, exaggerated, grotesque and spectacular surface effects. With bright and full colors and twisted curves, it creates a spiritual atmosphere through the changes of light and the movements of limbs, thus combining real life with passionate fantasy and creating a thrilling interest.
The style of baroque architectural design is to pursue the effect of abnormal, strange and unconventional form. The appearance is unrestrained, the lines are tortuous and changeable, the rhythm of architectural composition is unstable, and it often jumps irregularly. The wavy walls have an endless dynamic trend. Love to use double columns, even in groups of three columns, the width varies greatly. In decoration, "Baroque" takes many curves and uses twisted and changeable patterns to become a complex and circuitous shape; Like to use a lot of colorful murals and exaggerated statues, rich and colorful artistic structure, reflecting the idea of theocracy center.
In architecture, a rococo (or Rococo) style appeared during the reign of Louis XV in the middle and late18th century. The appearance of the building was clumsy, typical and magnificent, and it paid attention to complex carving and decoration. This carving phenomenon reflects the luxury of Rococo architecture, and the phenomenon and essence of Baroque architectural style also exist in the style of this era. "Rococo" art is full of exotic feelings and whimsy, pursuing a free, relaxed and lively naturalism.
/kloc-in the second half of the 0/8th century, with the deepening of enlightenment, the contradiction between the bourgeoisie and the feudal aristocracy became increasingly acute. France is brewing a great revolutionary storm. In this new era, the exquisite and delicate "Rococo" art is incompatible with the contemporary atmosphere, and people call for the emergence of new art that can conform to the new era. Winkelmann, a German aesthetician, did a lot of serious research on ancient Greek art very early. /kloc-In the mid-8th century, he published Thesis on Ancient Greek Art, Some Opinions on Imitating Greek Works in Paintings and Sculptures, and later published The History of Ancient Art. These works and his aesthetic thoughts on ancient art had a wide influence in Europe. /kloc-In the mid-8th century, ancient cities along the Mediterranean coast such as Italy were excavated one by one, especially the ancient city of Pompeii in Rome. People have seen a new artistic style that is rational and rigorous and advocates heroism. /kloc-in the second half of the 0/8th century, there was an upsurge of studying and studying ancient art in France, and a new retro movement appeared. This movement is called neoclassicism in the history of art. The source of neoclassicism is17th century Roman art, Italian Renaissance art and classicism represented by Pu Sang. These arts all embody a quiet, elegant and rational spirit of the times.
2. National style
Art is not only contemporary, but also national. The formation of national style is due to the embodiment of a nation's cultural tradition, aesthetic psychology and aesthetic habits in design. Nationality refers to the differences reflected in the design of various nationalities and regions, which are determined by many factors such as the geographical environment, social conditions, cultural traditions, customs and habits of the nation. The national characteristics of artistic style reflect the national aesthetic ideals and needs, but in the final analysis, it is rooted in the national social foundation and economic life. /kloc-Dana, a famous French art historian in the 0/9th century, thinks in his book Philosophy of Art that the development of art is determined by three principles: race, environment and times ... Gauguin, the representative of French post-impressionist painter, could not have created a national painting style full of original interest if he had not given up his career and family and came to a tropical island in the South Pacific to experience the mysterious customs there. All the aesthetic design activities of human beings are, in the final analysis, national aesthetic activities, and the process and results of such aesthetic activities are marked with national imprint.
Design should express a cultural connotation, make it a metaphor of a specific cultural system, and integrate the cultural characteristics of the times and social reality into the design. Scandinavian design was a great success in 1930s and won an international reputation. With the social ideal of creating a better life, Scandinavian design tries to start with household products. Design should not only provide beautiful and practical daily necessities, but also effectively guide consumers to choose a healthy lifestyle and consumption style. The combination of Germany's rigorous functionalism and the humanism of local handicraft tradition made Scandinavian design shine brilliantly at 1930 Stockholm Expo. In 1950s, Scandinavian design made a new leap because of its simple and organic form, natural color and texture, and was well received by the public. Generally speaking, the design style of Scandinavian countries has a strong * * *, which reflects the integration of multi-culture, politics, language and tradition in Scandinavian countries and their appreciation of natural materials. Scandinavian design is the design of life. Based on functional practicality, aesthetic innovation and people-oriented design style, its design has touched every corner of people's lives. In addition, Scandinavian style is also a modern style. It combines modernist design ideas with traditional design culture, pays attention to the practical function of products, emphasizes the humanistic factors in design, and avoids too rigid and harsh geometric forms, thus producing a modern aesthetics full of "human touch", which is widely welcomed by people. The long and cold winter in northern Europe makes Scandinavians prefer natural colors.
Color and texture. They regard design as a way of life, a material culture and an artistic conception of life, which produces a modern aesthetics full of "human touch" and is widely welcomed by people. Contemporary design is open and pluralistic. Taking the popular route, returning to humanity and caring for the essence of human existence have become the new focus of design circles.
Due to the restriction of different natural and social conditions, every nation in the world has formed a different language, habits, morality, thinking, values and aesthetic concepts from other nations, thus inevitably forming a unique national culture. For example, the scientific, logical, rigorous and rational modeling style of German design, the novelty, dexterity, lightness and exquisiteness of Japan, and the elegant and romantic artistic conception of Italian design were all born in the cultural concept atmosphere of different nationalities.
Taking Chinese and foreign gardens as an example, China Gardens, formed in China's cultural environment and soil, emphasize the affinity, coordination and integration between man and nature, pay attention to natural artistic conception, take advantage of scenery to relax feelings, and pursue the gardening effect of harmony between man and nature, which is considered as the representative of oriental natural gardens. Versailles Garden embodies a state that people deal with nature, and is considered as the representative of western classical gardens. In short, every nation has the desire and pursuit of self-realization, and is expressing itself in its own way, expressing its national charm with the help of tangible entities.
Three. comprehensive
Integration refers to the combination of design styles, such as ancient and modern integration, east-west integration, old and new integration, etc. Because of the different understanding of the cultural form in integration, designers have different choices in design, such as the background of the times, humanistic connotation, life cognition and so on.
American architect Wright and German modernist designer Mies Vandero, who are known as "Michelangelo in the 20th century". Their design practice and design thought initiated the modernism architecture and art design, and laid a solid theoretical foundation for the design movement and ideological trend after modernism. As we all know, in 1929, Miss designed the "Barcelona Chair" for the German Pavilion of the Barcelona International Expo. Its simple modeling and design motivation have effectively strengthened his design mode and principle of "less is more" and gained classic significance.
The expansion project of the French Louvre, the work of contemporary American Chinese architect Bay Yi Ming, is a new cultural landscape of the Louvre, which combines the distinctive prismatic pyramid shape, modern abstract form and advanced technology with ancient cultural forms and a long history.
refer to
Li Yanzu. Introduction to art design [M]. Wuhan: Hubei Fine Arts Publishing House, 2009.
Li Yanzu. Introduction to arts and crafts [M]. Beijing: China Light Industry Press, 2005.
[2] Yin Dingbang. Introduction to design [M]. Changsha: Hunan Science and Technology Press, 2007.
[3] Peng Jixiang. Introduction to Art 3rd Edition [M]. Beijing: Peking University Publishing House, 2006.
[4] Wang Shouzhi. World Modern Design History [M]. Beijing: China Youth Publishing House, 2002.