It also stems from the combination of European art and industrial production.
In the arts
High-end art in Europe and even the whole world originates from religion.
For example, church murals in Europe, murals in Dunhuang, China and so on.
The noblest art comes from the release of faith and self-humanity.
And design is a secular art.
And design is to reach the aesthetic level of high-end people.
It is bound to cross the secularization stage and enter the height of faith.
introduce
China is an ancient civilization with a long cultural history, which has produced a large number of cultural treasures in the long history of 5,000 years. From the cultural relics unearthed in different periods, we can see the wisdom crystallization of working people in active production, and we can also see that graphic design began to appear in ancient China.
From the end of Neolithic Age to the heyday of feudal culture in China until its decline, and even the establishment of new China, the influence of religion has played a huge role in the history of fine arts in China, which is the psychological and cultural basis of many folk arts and visual arts. As an important part of splendid oriental culture, religious art has no doubt about its historical, cultural and aesthetic value.
Among them, Buddhist art in Tibet, Dongba culture and art in Yunnan, murals in Dunhuang, and folk arts in different provinces of China, such as Facebook, paper-cutting, New Year pictures and costumes, will be the focus of discussion.
These indelible influences can't be underestimated in the field of design, because they basically conform to the thoughts and feelings of China people, and become a cultural symbol in design creation, which is more easily accepted by viewers.
Therefore, since the development of graphic design in China, religion has always occupied an important position and is irreplaceable.
Part one: The influence of Tibetan art.
As early as ancient times, there were many myths and legends about the origin of human beings in China. Before the Neolithic Age, agricultural culture had risen, and villages appeared, and some simple decorations, "pottery, even painted pottery, also appeared, with patterns, exquisiteness, reticulation and some painted symbols." (Graphic History of China P9)
In the Neolithic Age, the pottery patterns made by the improvement of pottery-making technology were more exquisite. At the end of the period, the variety of jade articles increased greatly, with beautiful shapes and exquisite carvings, including animal face patterns and symmetrical patterns. Later, it was China's works of art with religious significance. In addition, rock paintings and temples have appeared. "Paintings on the walls and special pottery dedicated to sacrifice have been found in cultural sites." (<& lt history of China illustrations & gtP 15)
When the history of China developed to the Western Zhou Dynasty (about 1 1 century BC to 77 1 century BC), the rulers formulated a series of cultural systems. Among them, the rise of religion has played an important role in the cultural thought, economic development, people's lifestyle and ethics of the whole Chinese civilization. At that time, religions in China included Buddhism and Taoism, with Buddhism occupying the main position. In the history of Buddhism, Tibetan Buddhism was formed in the 5th century. "In the late 8th century, the most famous large-scale Buddhist movement of Akamatsu Zande appeared, but at the beginning of the 9th century, the demise of Buddhism during the reign of Mozampu led to the decline or even extinction of Buddhism in the following 130 years." (< China Tibetan Stone Carving Art >:> Zhang Chaoyin, P3,1995,7) However, Buddhism has taken root in the hearts of Tibetan people. By the middle of 1 1 century, Tibetan Buddhism had matured and formed its own style. Among Tibetan Buddhist arts, there are famous Thangka, murals and sculptures, as well as stone carvings and cliff statues made by folk craftsmen and temple monks. "People turn the teachings of Buddhism into stories and sculptures for artistic expression." (< China Tibetan Stone Carving Art >:> Zhang Chaoyin, 51995,7).
Apart from India, another source of Tibetan stone carving art is the Han Dynasty in China, where craftsmen began to make statues on rocks. This move "created the atmosphere of carving figures and Buddha statues on rocks, and the stone carvings with animal images and mantras gradually turned into Buddha statues" (:& gtChaoy-inZhang, P7,1995,7). In my opinion, this creative method is the first in China's early graphic creation. In their reverence and worship of Buddhism and nature, the Tibetan people have created various shapes with different expressions and bright colors, which have good artistic effects and highlight the outstanding imagination and creativity of the Tibetan people.
The second part: Dunhuang art has become the main element in graphic design.
The famous Dunhuang frescoes in ancient China are in the same strain as Tibetan Buddhism. Dunhuang area has been the transportation hub of China to Central Asia and Europe since ancient times, and it has the reputation of "Silk Road". Its patterns are reflected in the Buddha statues, flying and Buddha seats, canopies, algae wells, streamers and fabrics in Dunhuang Grottoes. The murals and colored sculptures in Dunhuang Grottoes show the brilliance of Buddhist art in China, far exceeding the religious art of European churches in the same period.
Because Dunhuang art aims at promoting Buddhism, "only through the strong artistic language can we communicate religion and culture among all ethnic groups." Therefore, the formation of early Buddhist art in China was influenced by foreign national styles. "(<& lt China Dunhuang costume pattern >> Chang Shanna, P4, 200 1, 10) It can be said that Dunhuang art not only has the essence of foreign art, especially Indian, Persian and Greek art, but also fully embodies the unique features of the art in the prosperous Tang Dynasty because of its culture. What is important is that "it reflects the influence of foreign culture, the prosperous Buddhist art in Sui and Tang Dynasties and the social life at that time, and records the decorative patterns, color application and crafts of China in past dynasties. "I think this is very valuable for contemporary artistic creation and also meets the aesthetic needs of the people of China." The color patterns copied from Dunhuang murals and colored sculptures are actually important historical materials of China's clothing, weaving, printing and dyeing technology, and also an important aspect of studying Dunhuang art. "(< < China Dunhuang costume pattern >>, Chang Shanna, P5, 200 1, 10).
Among the murals in Dunhuang, the Mogao Grottoes are famous. The rich and exquisite murals and colored sculptures in the grottoes reflect that China's ancient art accepted the beneficial elements of Buddhist art and other foreign art on the basis of inheriting the national tradition, and after more than a thousand years of continuous efforts, it created excellent art treasures with the style of the times and national characteristics (< < China Dunhuang costume patterns >>, P30,2001,10). Among them, we can see the depiction of hunting life, Buddhist stories and mythological themes, which enriches the national color of grotto art. Murals also depict the production and life scenes of ancient society and vividly record the extremely precious artistic historical materials such as social customs, geography, mountains and rivers, transportation, life, architecture, costumes, music and dance in various periods.
But apart from the artistic style and historical origin of painting and colored plastic sculpture, I think the decorative patterns of Dunhuang are also an inseparable and important part. "They organically and harmoniously set off the main contents of murals, dressed up statues and made the whole grotto art more exciting." "These decorative patterns also highlight China's achievements in the evolution and development of arts and crafts decorations such as dyeing and weaving, clothing, jacquard weaving, carpet and tassel wearing in the course of more than 1000 years." (<& lt China Dunhuang costume pattern > & gtp30,2001,10)
"Geometric pattern" is a form of early decorative patterns in Dunhuang Grottoes, and it is also a leap in weaving at that time. With the smooth flow of the Silk Road, decorative patterns have made important breakthroughs and reached a high level. There are birds and animals. In the use of color, harmony, gorgeous, eye-catching, very popular. In the Tang Dynasty, it reached a new stage of flowers and had a unique decorative style. When painting, the expression technique is more realistic, and the texture of clothing materials is also paid attention to. Since this period, due to the more exquisite painting and the improvement of skills, I think this is inseparable from the prosperity and development of society at that time. The depiction of Buddha statues and the appearance of a large number of paintings show that religion, especially Buddhism, had a great influence on the people at that time. In addition, various printed patterns, Hua Niaowen, are the foundation of graphic design art in China.
At that time, these exquisite decorative patterns also spread to Japan and became the historical witness of cultural and artistic exchanges in the Tang Dynasty.
In contemporary China society, we can still see the visual art under the influence of Dunhuang murals in the Tang Dynasty. For example, the design of Olympic mascots, their headdresses are all taken from the traditional patterns in ancient China: fish pattern, water pattern, lotus petal, flame pattern and bird shape. Even in the later folk creation, these patterns have become a model. I think the religious creation in this period has a great influence on later generations. Some shapes and patterns not only influenced China's art design, but also influenced other Asian countries' design fields, such as graphics used in architecture, Japanese and Korean traditional costumes, furniture design and so on.
The third part: ancient and unique multi-ethnic art.
China is rich in culture and art. Besides Tibet and Dunhuang in China, there are different artistic styles. Working people have their own unique artistic language and material choice in the creative process. What I want to talk about here is a very special culture and art-Dongba culture and art, which exists in Yunnan, China.
As for Dongba culture, "it is a unique and valuable axis part of Naxi ancient culture, named after the complete and comprehensive preservation of Dongba religion." Dongba religion, on the other hand, is a transitional religion between primitive witchcraft and developed religion. Believing in animism and polytheism, it absorbs and integrates religious multiculturalism such as Bonism, Buddhism and Taoism. " (<& lt Dongba Culture and Art >> Edited by Wanbao, P3, 1992, 10). It has pictographic hieroglyphs and phonetic symbols, and the classics written with it are rich and varied, as well as colorful and standardized ceremonies.
Numerous Dongba religious ceremonies are the main carriers of Dongba culture and art, "and they are also rare living fossils of primitive religions in the world." In the process of these ceremonies, "with the rough and unrestrained classical music and dance, the desire of Naxi people to pursue truth, goodness and beauty and attack falsehood, ugliness and ugliness is reflected through colorful artistic scenes, giving people rich artistic enjoyment and spiritual edification." (<& lt Dongba culture and art >>P 1 1, 1992, 10)
One of the oldest primitive painting arts is called "raft painting", that is, painting on a raft. Generally, pine is used, which is divided into two types: pointed type and flat type. The pointed shape generally depicts the image of a god, inserted in front of the altar. The ghost village has an image of a flat-headed ghost. Modern "wooden raft" paintings are generally colored with red, yellow and blue, and the pictures are bright and attractive. "Because of the different rituals of Dongba religion, the content of wooden raft paintings is also different, and the paintings of natural gods are the most." Because the painting is done in one go, there is no draft, so the styles are different and lead the way. In art, pictures and hieroglyphs are mixed together, retaining the remains that characters originated from pictures. "Some works are painted with Feng Yun, ghosts and gods in the middle, and sacrificial treasures below. Unique image modeling, simple modeling, rough lines, bold brushwork, natural and smooth, with the characteristics of our ancestors' original art. " (<& lt Dongba culture and art > & gtP2 1, 1992, 10)
The colors used in these paintings are similar to those in Buddhist murals. Most of them are bold and lively, and the figures and ghosts painted are similar to those in Tibetan Buddhism.
In Dongba art, there is also a kind of painting called "painting spectrum", which is the product of the development of "wooden raft" painting art. Because of the huge number and complex content of wooden sign painting, it is necessary to fix these images in general, classify and annotate them for convenient application. Therefore, painting spectrum is often more precious than hand-painted "wooden sign" painting. From the visual aesthetic point of view, the scroll of Dongba Sutra is a collection of calligraphy and painting, because these Naxi hieroglyphs are original paintings themselves. In addition, Dongba culture and art also includes scroll paintings, bamboo strokes and the cover of classics, all of which are fresh and simple decorative paintings with their own splendor. "The scroll painting is based on the traditional artistic style of Naxi nationality, and it absorbs and integrates the painting styles of Han Buddhism, Taoism and Tibetan Buddhism, especially influenced by' Thangka' in Tibetan Buddhism since Yuan and Ming Dynasties, which has important academic value." (<& lt Dongba culture and art >>P 1 19, 1992, 10)
Therefore, Dongba culture and art reflect the unique religious culture in China minority areas. In artistic creation, it is interlinked with the mainstream religion Buddhism, and it is a religious art with regional characteristics. Compared with today, the inheritance of modern Dongba culture and art is in a relatively weak state and faces loss. However, the artistic spirit it expresses is unshakable, and its influence on China minority areas is deeply rooted. It can be said that Dongba culture and art provide rich resources for China folk art.
The fourth part: closely related folk art becomes the main body of creation.
Speaking of folk art, its emergence and development are inseparable from the long history of China. Its artistic content is rare in the world, with various artistic forms and all-encompassing artistic expressions. Nowadays, it has become a very unique cultural phenomenon. "China has been embodied in ideas, philosophies, morals, cultural and artistic awareness, and habits of basic necessities of life since ancient times. Completely self-contained, different from neighboring countries. Its visual plastic arts include dance, architecture, craft, painting and calligraphy, sculpture and so on. It also completely follows the laws different from those of western visual plastic arts and develops its own artistic system. " (<& lt China local art >> Yang Jean, Yang Yang, P 1 1, 2000, 1)
Since ancient times, many tribes have formed in this land of China, and they have been merging, developing and assimilating for thousands of years. China eventually formed a powerful Han nationality, which was a mixture of many tribes. This is the Chinese nation composed of 56 nationalities so far. At that time, the ancestors invented ceramic art by kneading clay and firing it. The appearance of papermaking created paper-cutting and tracing, while the combination of paper and engraving led to printing and woodcut, and the introduction of Buddhism brought clay sculpture art and mural art.
From the discovery of existing primitive art remains in China, the first is rock paintings painted on cave walls or cliffs. "China is one of the countries with the richest rock paintings in the world." (< China Local Art >>P 1 6,2000,1) While expressing those images, aesthetic consciousness gradually emerged. But only when it is relatively stable can it form such a perfect and regional artistic phenomenon. Behind these numerous artistic phenomena, "it is unthinkable without a fixed philosophical foundation." This philosophical thinking is the ancient concept of Yin and Yang. "(< < China local art > & GTP23,2000, 1).
Religious art has a lot of strong aesthetic taste of folk art, and the creative team of folk art is mainly rural women who are not divorced from labor production. It is an unreserved and open activity, which is closely related to life. In ancient times, artistic creation activities were mostly worship of life and reproduction, disaster relief and refuge, exorcism and epidemic prevention. For example, New Year pictures are brightly colored and full of shapes, which are similar to the colors of Buddhist murals and ghosts in Dongba culture and art, and woodcut, "an art series created by China's ancient invention and application of printing and papermaking". Its color is simple and strong, and its workmanship is rough and concise. It can be said that "folk woodblock New Year pictures are extremely bright artistic treasures in the whole China folk art carrier, and they are unique in the world." (< < China local art > & GTP34,2000, 1) includes door gods, New Year pictures and cards. The Gatekeeper is the most distinctive in shape and color. It absorbs the Buddhist shape in front of the temple and exaggerates it. Its rigorous and full artistic effect is better than any painting art..
The modeling and artistic rules of China folk art are quite different from those of the West, but they are all based on their own images, or regular generalization, or balanced decoration, or vague abstraction, or bold exaggeration. Not limited by visual space, as long as it is necessary for expression, it is all forgiven.
About the color of folk art, it is also different from western chromatics. They believe that only strong colors can be in harmony with nature, and they demand the beautification and stimulation of spiritual music. "Art is the expression of emotion, and the expression of emotion is varied. Traditional folk art in China is only a symbolic conceptual art "(& GTP38,2000, 1), taking paper-cutting art as an example. It is the way that rural women have accumulated a lot of experience in their lives and only express what they think and expect when creating. However, its decorative effect is incomparable. Among them, Shaanxi paper-cut is famous, and the ingenious use of various patterns is similar to that of Neolithic Age. These paper-cut patterns are symmetrical, giving people neat but rich visual effects. And use a lot of red, in line with the aesthetic needs of China people. Today, red is still the protagonist of China's visual arts. It has become a symbol of a country, and its meaning can better express artistic language.
And masks and embroidery. Among them, mask culture is mainly distributed in ethnic minority areas, with a wide variety, different uses and different artistic forms. "The image of the mask mostly symbolizes the symbol of a certain concept. The artistic style is rough and magical, exaggerated and primitive." Folk masks are generally made of wood carvings, stone carvings, cloth or clay sculptures, which appear in witchcraft activities and religious ceremonies. Some of them belong to houses and decorations in exorcism town. They are closely related to the animal face patterns on ancient animal face bricks, animal face bricks, shields and bronzes. They have become symbols of artistic symbols that people constantly create to deter evil. "Today's mask art has become a decorative art, which has been better developed. "China's opera facial makeup is probably developed from the social fire facial makeup." (<& lt China local art >>P 1 23-124,2000,1)
Embroidery, because of its own craft characteristics, is particularly prominent in color expression, which is "a concentrated expression of the color laws of various categories of folk art." (<& lt local art in China > & GTP75,2000, 1) First of all, it is modeling, and flowers and patterns are often used to express feminine beauty and auspiciousness, and to express emotions. Among them, Miao Xiu is the most prominent. It is based on Miao paper-cutting, and most of them are images of dragons and wild animals. Followed by color, mainly the use of primary colors, mostly black, with red or blue-green as the main tone. Some of these embroideries are embroidered on coats, some are embroidered on pillows or used as insoles for uppers. Like other kinds of folk art, it expresses the creator's good wishes, expectations and longings for a better life.
The fifth part: the diversity of graphic design.
In addition to the above murals, rock paintings, Dunhuang murals, Dongba culture and art, and traditional folk art of Tibetan Buddhism, there are different kinds of art forms in China. Based on this, China graphic design has extremely profound and rich creative resources. Nowadays, those ancient totem symbols and meaningful color use provide convenient conditions for creators.
Personal point of view
exceed