Chinese traditional art in modern design

The elements of beauty constituted in these cultures are the national treasures of the Chinese nation. No matter how modern design develops, it can't be separated from the profound influence of traditional culture on it. These traditional cultures, which are national, regional, social and historical, are influencing the modern design movement all the time. Designers should inherit and develop the essence of these traditional cultures. Keywords: traditional culture, modern design, folk aesthetics Since I started designing, I have always been y touched by the saying that "the more national, the more global". The Chinese nation has a history of development of more than 5,000 years, forming a diverse and integrated ethnic family. In this big family, fifty-six nationalities ***life*** glory, *** with the creation of the most beautiful splendor in the history of mankind. The beauty of our nation is unique to our country, but beauty has no borders, so the beauty of our nation is also the beauty of the world. Designed to add elements of traditional Chinese culture, not only can fully express our mysterious oriental colors, but also better play a role in international communication and exchange. In today's world, the only culture that can be inherited and has never been interrupted is the Chinese culture that has experienced more than 5,000 years, and it is also based on this that the Chinese people are more attracted to traditional culture and folk aesthetics. Under the vast and profound Chinese culture, we should take the inheritance and development of Chinese culture as our own responsibility and honor. And the traditional essence of Chinese culture embedded in this cultural system influences us implicitly from thought to behavior. Therefore, in the design, if we can incorporate these cultures that we are proud of, what kind of national pride is this! Now I quote the famous folk artist Mr. Zhang Zhanyi's explanation of tradition, he believes: "'Transmission' means dissemination and circulation, and 'unification' means a system of one lineage". Generally speaking, it refers to the ideas, morals, human ethics, styles, arts, systems, etc. of a country or nation that have been passed down from history, which in a nutshell are mainly manifested in the aspect of culture. Some scholars define culture as "the sum of material and spiritual wealth created in the course of the historical practice of human society. It is the creative activity of human beings in order to fulfill their needs in a certain way." So what exactly is beauty? First of all, labor creates beauty, and beauty arises from the multifaceted life practices and production scenarios centered on labor. A variety of things of different natures and scenes of different situations are harmonized and blended to produce beauty, i.e., the beauty of happiness and harmony. The aesthetic thought of "harmony" advocated by Confucius had a profound influence on later generations, and the aesthetic ideals and interests of many artists were centered on this word "harmony". The five flavors to suit the mouth, the five colors to please the eyes, the six rhythms to please the ears, and the three talents of heaven, earth, and man to amuse the mind are all for the creation of beauty. And in addition to the theoretical form of aesthetics, in the ancient working people to create a large number of craft products, but also reflects the rich aesthetic ideas and high artistic attainments. The artistic conception of beauty is still manifested in the high skill of the forefathers' craftsmen, who, as Marx said, "created according to the law of beauty." Secondly, compared with the beauty of Western culture, the prominent feature of Western culture from Plato onwards is that "the individual is beautiful", emphasizing image, vividness and novelty. The starting point of Chinese aesthetics is from Laozi's aesthetics. Traditional Chinese aesthetics emphasizes the beauty of unity - "the consciousness of the whole", believing that everything is a harmonious and united whole, all following the same essential law. Therefore, the ancient Chinese artists have always been committed to the "beauty of the whole" of the creation of human emotions into the form of objects, borrowing objects to express their feelings, "to write in the form of meaning", "form and spirit". As a result of this "unity of man and heaven" holistic worldview and "the same thing I" aesthetic concept, Chinese artistic expression does not emphasize "realism" but heavy "God", focusing on the performance of the overall shape of the momentum, rather than the objective object of a comprehensive depiction of everything, which is very different from the Western aesthetic. Ancient Chinese aesthetics requires "introverted", the so-called subtle beauty, while the Western aesthetics of aestheticism, piecemeal thinking. Again, the pursuit of aesthetics in traditional aesthetics implicitly influences modern design thinking, which in turn affects the national aesthetic concept. In the view of our Chinese nation, beauty is not something else, nor is it something mysterious and inaccessible, beauty is the body of harmony that makes people happy, the so-called "not and Fumei". As Zhuang Zi said: "and people and the person, called the people of music; and heaven and the person, called the heaven of music." Therefore, it can be said that beauty comes out of harmony, which is the beauty of happiness. Anyone exists on the pursuit of beautiful things this psychological, but the appreciation of each person's ability, level is different, this is, after all, and each person's cultural cultivation, education, preference and many other factors, but the beauty - the real beauty is elegant and popular **** appreciation. Let us examine again the multiplicity of traditional national cultural values. First of all, originality, aesthetic culture must be a culture that embodies a certain aesthetic sense but gives people aesthetic enjoyment. Looking at things from this perspective, we will find that the arts of poetry, music, and dance, and the decoration of the human body, the beauty of rhythm, and the beauty of harmony, all come from folklore, and are created by the masses of all races and peoples. Chinese famous poets, painters, dramatists, calligraphers and other poetic theories, painting theories, theater theories, calligraphy theories, music theories left behind, but also contains a wealth of aesthetic ideas, usually still aesthetic ideas in the fine arts. Designers should fully learn these valuable knowledge. Secondly, it is hidden, traditional aesthetics live in the folk, new aesthetics was born in the folk, so the treasure trove of national and folk aesthetics is particularly rich. Therefore, the designers can get the source of design from it, which is inexhaustible and inexhaustible. Art needs innovation, and art itself has continuity. But this kind of innovation is not the negation of the former culture, this kind of negation should be the negation of the affirmative, exactly should be discarded. As the old saying goes, take the best and discard the dross. This guides us to use the excellent folk culture to design excellent works. In today's information age, modern art and modern technology have far-reaching influence on modern design, but no matter how it develops, it can't be detached from the profound influence of traditional culture and folk aesthetics on it. In other words, traditional culture with national, regional, social and historical characteristics not only influences the modern art movement all the time, but also directly influences the modern design movement. In the field of art and design, Chinese culture has also exerted great influence on the world. The Bauhaus, the peak of modernist design development, was y influenced by traditional Chinese culture. As early as the 1920s, the Bauhaus had a strong interest in the Chinese doctrine of Laozhuang, and also applied the philosophy of Laozhuang to his teaching and design practice. One figure who had a significant impact on the history of the Bauhaus was the Swiss painter Johannes Itten. He had studied oriental philosophy, especially the philosophical thoughts of Chinese Laozi and Zhuangzi. In his teaching, he also guided his students to learn the spiritual interest of ancient art from oriental and medieval art, and even let them practice qigong. Chinese culture does not just stay on the surface of art works, but has become the soul of art works in some aspects. Many of the world's best clothing brands can see some Chinese culture in some of their designs. Sometimes, when you see yellow hair, blue-eyed foreigners in the streets and lanes wearing our Tang costumes, you can not help but also marvel at the different charm, can not help but also feel that the beauty is really regardless of national boundaries. Therefore, the great charm of traditional folk culture, as well as its breadth should be inherited, developed and spread. For thousands of years, a large number of philosophers, aesthetes and artists have been exploring this field, thus forming a unique and profound Chinese aesthetic system. The essence of traditional culture embedded in this system has been influencing, constraining and regulating our aesthetics, which is determined by a series of factors such as this nation's way of life, customs, systems, ethics, morals, aesthetic habits and so on. Therefore, in order to successfully utilize the elements of beauty in ethnic folklore, it is firstly required that the designer y loves, understands and is familiar with this nation. Only in this way can we bring us rich aesthetic ideas, diverse traditional culture and further understanding of craftsmanship, design, and the laws of beauty, and enable us to extract a lot of useful information and new inspiration.