From the perspective of the correlation between traditional painting art and modern art, this paper analyzes the mutual integration relationship between them with examples, hoping that through such multi-level exploration, it will sum up how to better carry forward the regional and national cultural traditions, establish a diversified cultural pattern, and make people understand its role more deeply.
Traditional painting art; Modern art design
In contemporary times, when it comes to traditional art and modern art design, people always think that they are two different art forms. Therefore, how to understand the relationship between traditional painting plastic arts and modern art design has become the primary topic of art research. If we blindly follow China's traditional art route and don't absorb the nutrition of modern art, it will hinder the progress of our painting art. If we completely deviate from traditional art forms and blindly imitate western modern art, our art will lose its national personality only if western modern art follows suit and simply misappropriates western modern art forms. Therefore, the development of China's art design at this stage should carry out a series of necessary studies on the relationship between traditional art and modern art design.
Here, we must realize that in today's modern design trend of pursuing world diversification, if we want to maintain the individuality of China's traditional art, we must be brave in absorbing, inheriting and blending. Whether the early Han culture in China was formed until it reached its peak, or the culture in the prosperous Tang Dynasty was influenced by the western regions and Indian cultures, it shows that only by bravely absorbing can it develop, and only by bravely inheriting and being good at blending can it finally become the master of its own culture. In terms of art design, should we still? Based in China, facing the world? We should not only respect the uniqueness of national art, but also reflect the aesthetic psychology of the Chinese nation and the inner spiritual pursuit of modern people. In art design, we should also? Root-seeking? In our traditional culture of China, we should look for the thinking superiority and unique style that other nationalities can't match. Art should always talk about internal continuity. The emergence and adaptation of an art form needs a specific historical and cultural background, including a nation's lifestyle, customs, ethics, aesthetic habits and so on. , constitutes a potential deep cultural structure, deeply locked in the national psychology and spirit, regulating and restricting the development of national culture and the intervention of foreign culture. In the works of China designers, the subtle influence of traditional painting plastic arts is always revealed. Analyzing these influences and affirming the positive factors will contribute to the development of art design in China. Let's make a certain analysis from this angle.
First, China's traditional art design thought
1. practicality and aesthetics
? The unity of practicality and aesthetics? Is a very important thought in China's traditional art, among the pre-Qin philosophers? Beautiful and good? 、? Perfect? They are not only the embodiment of this thought, but also have a far-reaching influence on the traditional art in China history. As the beginning of China's traditional art history? Painted pottery? Art is a model that embodies the harmony and unity of external material form and internal spiritual meaning.
2.？ Harmony between man and nature? look
? Harmony between man and nature? This humanized design idea is an important idea that affects China's traditional art. It is recorded in the earliest technical document "Flower King Gong Ji" in China. Sometimes, the sky is low, the material is beautiful and the work is skillful. It's better to combine these four. ? Only when the four factors of seasonal climate, geographical environment, natural aesthetic feeling of materials and artificial ingenuity are consistent can we create excellent objects. The combination of natural factors and human factors is a high degree of harmony between people and things.
In addition, China's traditional art pays attention to balance and internal rhythm, which is called in China seal cutting? Can you walk fast without breathing? The layout rules of "New Style" emphasize the balance in change, which conforms to both the principle of scientific relativity and the law of artistic beauty in form ... In China's artistic design works, there are many traditional composition rules, such as movement, density, diversity and unity, the echo between the guest and the host, the combination of reality and reality, vertical and horizontal, black and white contrast and overlapping. In addition, ancient bronze patterns, stone reliefs, stone seal cutting, etc. Chinese painting, in particular, subtly conveys the ingenuity of using white background.
Second, the concept of modern art design
Modern art design is different from easel oil painting or printmaking, and requires clear, concise and concentrated design, which has gradually become the mainstream. In order to achieve this goal, modern art design often adopts a series of hypothetical techniques, highlighting key points, deleting minor details, details and even backgrounds, and combining activities in different time and space in different proportions. And stimulate people's association by symbolic means. Therefore, its conception should overload reality, its composition should be summarized and concentrated, its image should be concise and exaggerated, and what it wants to publicize should be prominently expressed with strong and bright colors, giving the picture a wider meaning, so that people can think of a broader life and feel new meaning in a limited picture. In these respects, China's paintings pay attention to conception? One for ten? 、? Use less and use more? , composition? When white is black? Aesthetic pursuit can provide a lot of nutrition for graphic designers. This is fully reflected in China's artistic design.
Third, the necessity of the integration of traditional art and modern design
In the process of China's reform and opening up for more than 30 years, western culture has flooded into the public's field of vision, greatly affecting and enriching people's lives. However, China's traditional ideas, lifestyle and cultural customs are impacted by western cultural trends everywhere. Especially in the modern design industry, because most of its professional theories are based on the western modern design research system, China's design has lost its national cultural characteristics while imitating western design. Objectively speaking, at present, there are still many phenomena that China designs imitate or even copy the West, which is a kind of blind takenism. In recent years, we have always stressed that we should be in line with the world, but to be in line with the world, we must come up with our own things. If you lose yourself in the process of chasing the line, you may leave a laughing stock of imitation.
With the requirements of the times, artists give it new vitality, which is often used and always new. This stylized treatment is often used in the decorative image processing of China posters, showing dazzling brilliance. Qi Baishi once proposed? What is the beauty of painting between similarity and dissimilarity? Famous papers, some of our posters, just? Do you like it or not? From the point of view, many images are obviously not simple imitations of life, but valuable upgrades from complex to simple and from complex to simple. Jin Daiqiang poster works? Gold, wood, water, fire and earth? Poster graphic design also fully shows this cultural spirit and haunts the strong spiritual aura of modernist design. Chen Youjian's packaging design works? Qi Li? Jin Daiqiang's packaging design works? Sister toilet water? . Designers have a deep understanding of China's cultural traditions, and are comfortable with the application of China's traditional ideas in design. Because of the characteristics of art design, the role of decorative colors in the design picture is determined. Decorative colors are subjective. Su Shi painted bamboo in the Song Dynasty, which was criticized. Do you have red bamboo? He asked: Is there any black bamboo? It means that since everyone is right? Zhu Mo? I'm used to it. Why not draw bamboo? This shows that the subjective imagination of color in traditional aesthetics is allowed and necessary. However, this kind of subjective imagination is not equal to subjective imagination. Decorative color also comes from life practice and needs to absorb nutrition from objective things. This is exactly what packaging pictures deliberately pursue. ? Just like you don't want color? Illustrates this relationship. People often get inspiration from natural colors such as butterflies, neon lights and rosy clouds to create colorful decorative effects. The subjectivity of decorative colors makes people have some associations and will bring natural scenery? Personification? . In traditional Chinese painting, lotus flowers are often painted red, and lotus leaves only draw dripping ink. Faced with these images, people will naturally think that the painted ink leaves are green. In art and design works, there are often such examples. It's a blue bamboo painting. It means that since everyone is right? Zhu Mo? I'm used to it. Why not draw bamboo? This shows that the subjective imagination of color in traditional aesthetics is allowed and necessary. However, this kind of subjective imagination is not equal to subjective imagination. Decorative color also comes from life practice and needs to absorb nutrition from objective things. This is exactly what packaging pictures deliberately pursue. ? Just like you don't want color? Illustrates this relationship. People often get inspiration from natural colors such as butterflies, neon lights and rosy clouds to create colorful decorative effects. The subjectivity of decorative colors makes people have some associations and will bring natural scenery? Personification? . In traditional Chinese painting, lotus flowers are often painted red, and lotus leaves only draw dripping ink. Faced with these images, people will naturally think that the painted ink leaves are green. In artistic design works, there are often such examples, a blue painting.
In a word, what should be based on in China's contemporary art design? Combination of source and stream, focusing on the source? This is undoubtedly a positive guiding role for the development of local art design.
References:
[1] Lei Ziren. The Expression, Schema and Pen and Ink Structure of Chinese Painting in Cultural Festival, Art Research, the first issue in 2003.
[2] Li Yanzu. History and Aesthetics of Visual Communication Design, Renmin University of China Press, 2000, 1.