The Combination of China Traditional Visual Elements and Western Design Concepts

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Cultivation of National Cultural Consciousness in Art Design Teaching

Based on the analysis of the development background of China design, this paper expounds the importance of cultivating students' awareness of national culture in design teaching, aiming at emphasizing the importance of national culture to China art design and attracting the attention of design teachers.

Keywords: national culture, national art design education of China elements

If any nation loses its cultural consciousness, it will lose the value of its independent existence. Although cultural consciousness has distinct national cultural characteristics, it is obviously impacted and influenced by world culture, especially the infiltration of advanced national cultural consciousness. For an open and world-oriented nation, cultural awareness is not only national, but also global and spiritual wealth of the world.

In ancient China, predecessors' attitudes towards foreign heterogeneous cultures were distinct. Confucianism advocates cultural pluralism, and its general idea is "Taoism goes hand in hand without contradiction", which holds that people's needs are hierarchical and cannot be met by one culture. Therefore, different cultures have their own status and functions. To talk about "harmony but difference" in Confucian culture is to respect and identify with this cultural difference, advocate harmony between cultures, oppose single homogenization, and also oppose conflicts and confrontation between things. This idea is reflected in the development of human culture today, that is, to recognize cultural differences, respect the common development of multiculturalism, and accept other foreign cultures while acknowledging one's own culture. Only "harmony without difference" can promote the prosperity and development of human culture and inherit and carry forward our national culture. This is the "harmonious reality". These thoughts have positive practical significance for modern art design teaching.

What we are facing now is a highly informationized and modernized international environment. Various magazines, networks and TV programs have brought foreign cultures into our lives, and this kind of cultural impact and influence is unprecedented. Its scope and depth are expanding rapidly, which has been reflected in the design works of art design students. Art design students rarely have the opportunity to study China's profound national culture, let alone the relationship between traditional art and modern art, and most of them passively accept the design concepts and visual communication methods of developed countries such as Europe and America. As a semi-imported product, art design is deeply branded with western aesthetic concepts.

Students learn about the cutting-edge works designed by western developed countries through the internet and printed matter, and imitate the expressions of these works. They are easy to accept new things and enjoy them. However, in the process of imitation, students easily lose themselves. The so-called imitation only stays at the technical level, blindly transplanting and simply copying some western design symbols, which are highly similar in form and structure, but have no spiritual excavation and development, and the works are impetuous and superficial. On the contrary, with the development of China's economy, our culture has attracted more and more attention from the world. Western designers have begun to add China elements to their designs. They don't necessarily understand the profound connotation of China culture, but they are good at discovering the formal beauty of China elements. After reasonable decomposition, reconstruction, processing and re-creation, they can design works that meet their aesthetic consciousness.

These phenomena also show that the cultivation of students' national cultural awareness in the teaching process is very weak. As teachers, we should cultivate students' awareness of national culture purposefully and step by step in the teaching process, infiltrate the essence of national culture into design teaching, guide them to inherit and develop excellent cultural resources through modern design means, and integrate China elements and humanistic spirit, so that their works have soul, vitality and China characteristics. This training process mainly includes three parts.

1. Guide students to be familiar with and understand the cultural form and spiritual connotation of the Chinese nation, excavate excellent artistic materials with inheritance value, and summarize and classify design elements with China characteristics. This first requires teachers to have a systematic and comprehensive understanding of China's national culture, and at the same time pay attention to cultivating students' national pride and sense of identity with China's traditional national culture.

The induction and classification of China elements in art design teaching is an important process. Teachers should guide students to know and be familiar with the visual elements in traditional culture in a planned and focused way. In this process, students will become interested in traditional culture, improve their aesthetic awareness of national culture, and re-examine the essence of these cultures with unique eyes. For example, China's calligraphy, seal cutting, Chinese knots, Peking Opera masks, shadow play, auspicious cloud patterns, traditional Chinese paintings, Dunhuang murals, freehand brushwork, Taiji pictures and so on. There are too many design elements that can be excavated and utilized in these traditional national cultures. In order to make the design have China flavor, we must make use of these unique visual elements in China. In the process of design teaching, teachers should let students know that design works must be rooted in national traditional culture and absorb foreign design ideas if they want to go global. Only the national is the world. In the ancient cultural roots of China, we will be able to find the content suitable for the needs of contemporary design. We should extend these contents and develop them into artistic designs that meet the contemporary aesthetic requirements, so that the works have a sense of the times and cultural connotations. Only by standing on the nation and tradition and getting rid of blind obedience can we create excellent works and have personality. Cultivating students' national pride should run through the whole process of art design teaching.

Second, train students to understand and master advanced design concepts and means, and learn excellent design works from other countries. Encourage students to watch and learn more and master more design styles and forms. The development of science and technology provides us with more available materials and technologies. Compared with early art design, we have more choices. People's aesthetic consciousness is also changing under the impetus of economic development. Understanding and mastering advanced design methods and concepts is something that a student who is about to engage in art design must do. The western art design system has developed quite well, which is worth learning and learning from. Introducing the works of outstanding designers from other countries in the teaching process can broaden students' horizons and enable them to master more design forms. For example, modern design in Japan is eclectic after fully absorbing foreign culture, decomposing and restoring foreign culture, absorbing, improving and applying foreign things, and discarding impractical things, so as to achieve the harmony between eastern and western cultures, and the design works have a strong Japanese national style. Appreciating the works of China's design masters is also a very important process. For example, Jin Daiqiang, a famous Hong Kong designer, advocates the organic combination of the essence of China national art and modern western design concepts. His graphic poster works often use the techniques of China ink painting, combined with modern visual design techniques. His works have strong visual impact and strong oriental charm. Through the interpretation of the master's works, (turn to11page) (continue to turn to 1 12 page) students can understand the relationship between tradition and modernity more intuitively.

Third, teachers should lead students to find the best point of convergence, organically combine traditional culture with modern design concepts, find appropriate expressions, make the past serve the present and make foreign things serve China, and cultivate students to form an original style with China characteristics.

In the process of artistic creative design, teachers should guide students to reinterpret and deconstruct traditional culture, which is a development process from understanding to innovation. We should let the traditional national culture serve the modern design, so that the design works can not only reflect the nationalization brought by tradition, but also reflect the internationalization brought by innovation. China elements have been continued and developed in modern technology, traditional forms have been continued in modern technology, modern ideas have been deepened due to the accumulation of historical and traditional culture, and nationalized design language has been internationalized.

In the teaching process, teachers should cultivate students' spirit of discovery, negation and innovation, and improve students' aesthetic consciousness and national cultural accomplishment. Not everything in traditional national culture can be used in modern design, but it can bring inspiration to modern art design. Combining traditional art with modern art design teaching is to guide students to design design works with individuality, nationality, times and internationality. This combination does not mean that students can simply copy or misappropriate traditional culture, but that teachers should guide students to know and understand traditional graphics, and on this basis, let students gradually dig, change and transform traditional culture, so that traditional art can become their new creative point and inspiration for design.

Taking graphic visual communication design teaching as an example, teachers should guide students to interpret traditional national culture and decompose and reconstruct national visual elements in the teaching process. Learn to extract the modeling elements from traditional graphics first, and then combine some composition methods learned in the composition course, such as breaking up, cutting, dislocation, variation and so on. , keep the typical and representative features of traditional graphics, and reorganize them to break the original modeling features. The new graphics come from the constant decomposition, transformation and reconstruction of the prototype. It is easy for students to understand and master the extraction and application of traditional graphics, but this application can only be said to be a superficial understanding and understanding of traditional graphic art. Simple misappropriation and copying will make our design locked by tradition, rigid, old-fashioned and lacking a sense of the times. The creation of new forms of national design requires teachers to lead students to get rid of the surface of materialization when learning traditional graphics, go deep into their spiritual field, understand their symbolic significance and explore the "meaning" of national culture. Eclectic, comprehensive, find the intersection of tradition and modernity, and create an international graphic visual design that belongs to our nation.

In a word, traditional national culture has been inherited and developed through modern design concepts, and modern design concepts have also been continued and developed in traditional culture. Teachers should put "inheritance, integration and innovation" through the whole art teaching process. Cultivate students' national cultural awareness and innovative spirit, and create artistic design works with nationality, sense of the times and modern aesthetic needs.

References:

[1] Li Wei. Introduction to design. Chongqing Southwest Normal University Press, 1990.

[2] Cao Deben. China traditional culture. Liaoning University Press, 200 1 June1Edition.