On the Relationship between Traditional Culture and Contemporary Design (2)

Spitting on new things with traditional beauty

Throughout the history of human development, all ethnic groups, nations, or dynasties advocating individuality, freedom, democracy, and encouragement must be prosperous and prosperous; conversely, if one empties their personality, restricts freedom, dictates, and lacks momentum for advancement, it is certainly backward. Declined. The Chinese nation has a proud civilization history of five thousand years. It was once brilliant, but it has also been debilitated for three hundred years because of the inadequacies of ideological obstruction, self-employment, blind exclusion, and other ethnic groups. Completely eliminate the dross in our national culture! This is the truth we are deeply immersed in.

Someone in the industry once accurately pointed out the crux of the matter: "...in the vein of our national culture, the value of creativity is an affirmation of imperialism rather than a worship of adulation." This remark is indeed brilliant .

In the history of China, since the establishment of the Qin Dynasty, it has always been a society that advocates power rather than knowledge. The Qin Dynasty had burned books and Confucianism. After that, the dynasties had the suppression of culture under the absolute control of political rights. In all history, the creation of great and splendid works (such as Chinese classical architecture, china ceramic with the same name of China, etc.), these masters are often infamous, and the prestige of those splendid civilizations belongs to the ruler of that dynasty. These real masters are merely craftsmen and coolies in the eyes of successive rulers. At the very least, the words "Queen" are used to become senior craftsmen. It can be seen that our national culture lacks a spirit of advocating individuality and advocating human freedom to create value. The contemporary design needs exactly such a temperament.

In a nation’s culture, proper education can rejuvenate a nation in the process of reciting it. Therefore, he advocated designing as a kind of culture. As a basic education for the entire people, like Comrade Deng Xiaoping once put forward the education theory, he was the chief designer of our nation's well-deserved, because he led us out of a dark, unmotivated The era has entered a multi-faceted, colorful new era. And if we say that Deng Xiaoping is the mentor who leads the social transition, then how can we better go forward together with society? The answer is on our own.

Looking for fresh blood in traditional designs

After hundreds of years of vicissitudes, we have gradually gone out of our way in the world with our unwavering momentum. The saying goes: The nationality is the world. Our long tradition, though it brings us the concept of bondage and not enough openness, but if we discard the old and extract the essence, it seems that we are not too late.

China’s Mr. Chen Yifei advocates “big vision, great art” and promotes the visual industry. The former British Prime Minister Margaret Thatcher said: “The UK can have no prime minister, but it cannot be without design”; Rapid rise within the year; almost all observers think: Design is productivity.

Turning on China's brief history of graphic design, Chen Shaohua is an indispensable figure. In his design history, it was “Green, coming from your hand” that made him stand out. Let us further realize that Chen Shaohua’s Tai Chi human form he designed in 2000 and the Chinese Olympic symbol. From the Olympics logo to the waiting list, the style of design has evolved from simple inspiration to the maturity of the signature “Chinese style”. The traditional elements of China have always been the element that Chen Shaohua has always had and a theme that is neither humbled nor overwhelming. Contains Chinese traditional philosophical ideas, there is an invisible bearing of the elephant. There is Chinese self-confidence and courage. It also meets the influence of China today on the international stage.

The sense of mission of the designer

The design master Chen Youjian once said: "The course of graphic design is like a marathon. It is a long and challenging road. Those who have won numerous awards are not just a good talent." The superior one must also cooperate with the cultivation and perseverance of the day after tomorrow to achieve the desired results. If a graphic designer wants to be successful, he is also like a sportsman. It is not enough to rely on talent alone. If a person does not fully devote his energy, time and effort, he will succeed. It does not happen.” The fact is that the Chinese do not lack design talents. If Chinese contemporary designers are compared to one unborn baby, then apart from the mother’s nurturing, the entire living environment is a problem. In addition, we must rely on our own efforts to break out of the shell like a hawk, so that the eagle can fly.

Another design master reluctantly compared a designer to a tailor who tailors clothes. It is for others to wear comfortable, looks beautiful, but also his heart. Design is tailor-made for others. This concept is a designer must also have. It should also be the sense of mission of the designer. With hard work, design is not only done for the sake of doing things, it must be people-oriented. In the current design perspective, how can we allow consumers to put on the design of “clothes”? How many people!

The general conclusion: Traditional is the foundation of the country, and design is the foundation of the market. What we need to do is not reservation, or imitation, nor blind pursuit or worship. Our mission is to innovate and realize that tradition is worth keeping. The place is properly utilized. Taking me as my pursuit goal, breaking through self is the best policy.

Text / Zhang Huan
Source: Shanghai Packaging