Paper: The application of China traditional auspicious case in modern design.

China has a splendid cultural accumulation of 5,000 years. Traditional arts and crafts are unique to oriental civilization, while China's traditional arts and crafts are the material and spiritual needs of China people. China arts and crafts, with its long history, unique style, superb skills and various forms, have written a chapter full of wisdom and spiritual light for the whole human cultural history. Although industrial design is gradually being created from China to China, traditional arts and crafts should be skillfully applied to modern industrial design. With the enhancement of China's national strength and world influence, China's modern industrial design will not lose itself, but will go to the world more clearly.

Key words: China traditional arts and crafts, modern industrial design, integration potential, necessity of important elements.

What kind of responsibility should we shoulder, what kind of responsibility should we be entrusted by the times, and what should we do to live up to our mission. How to integrate China traditional technology into modern product design is a problem that all future industrial designers should consider. Facing the booming design industry in China, we should open up a field of industrial product design with China characteristics while studying world design, and integrate our China culture into the design of modern industrial products.

China's traditional arts and crafts contain modern industrial design ideas. Www.lwkoo.cn's graduation thesis.

China's traditional arts and crafts have experienced vicissitudes of the times. Thanks to the efforts of countless ancestors and thousands of years of practice, China's traditional arts and crafts, involving all aspects of our life, politics, economy and culture, have come into being today. Since ancient times, China traditional arts and crafts have achieved a harmonious and unified style through respect, recognition and tolerance of all things in nature and through communication and coordination. Until today, with the progress of science and technology and the development of productive forces, the balance of nature has been broken. At this time, people realized the importance of harmonious coexistence between man and nature, and advocated environmental protection, green design and humanized design.

This profound heritage of China's traditional arts and crafts profoundly reveals the relationship between man and nature and the development direction of modern industrial design. How to apply the laws and achievements of China traditional arts and crafts summarized by our ancestors for thousands of years to today's modern product design will be a subject worthy of our study and deep thought.

China traditional arts and crafts is an important part of the world arts and crafts.

China has a large population, and China culture has already spread all over the world, with far-reaching influence and immeasurable market potential. The great influence of China culture on the world and its largest proportion in the world culture also determine that the value prospect and potential of integrating China culture into modern product design are infinite.

For example, The Meeting of the Gods was written by Giovanni Beligni, one of the most outstanding Italian Venetian painters in the early Renaissance (1430- 15 16), which is a portrayal of the ideal world that people yearned for during the Renaissance. It is worth mentioning in the painting that the vessels used by the immortals are all blue-and-white porcelain fired by China in the Song Dynasty, which shows that the reputation of traditional arts and crafts in China at that time spread far and wide, and westerners at that time worshipped and yearned for Chinese civilization.

The design elements in China traditional arts and crafts are full of vitality. The animal patterns in decorative patterns are mainly the inheritance and development of the original totem. For example, the dragon and phoenix patterns reflected are all evolved from auspicious and sacred things worshipped by the Chinese nation, with unique styles and obvious traces of totem worship in primitive society.

Dragon pattern is the most auspicious and sacred decoration of the Chinese nation. Its image did not appear on bronze wares, but the germination of the dragon can be traced back to the Neolithic Age. In the bronze age, the image of a real dragon appeared. It is the synthesis of various animal images, and it is a strange and mysterious animal image produced by the creative imagination of the ancients. Its original prototype was mainly a snake, because there was a saying in ancient China that "the dragon is like a snake, the snake is like a dragon" and so on. The image of dragon is not uncommon in Shang and Zhou bronzes. It abstracts every part of the performance and selectively strengthens it.

The original image of Phoenix is a mysterious bird (the mysterious bird is the totem of Dongyi nationality in ancient China). Like the dragon, it is also an animal imagined by the ancients and a god bird created by combining various animal images. Its feathers absorb the image characteristics of peacock, and its sharp claws are taken from the fiercer eagle. There is a description of the phoenix in Han Shi Zhuan. "The husband and phoenix are hung with scales on the front, fishtail on the snake neck, turtle body with dragon pattern, and pecking at the chicken." It also absorbed and integrated the cultures of other clans. But there are many changes in the phoenix patterns here, which can be compared with the real dragon patterns and give people a sense of mystery. The development of China's 5,000-year-old civilization, whether it is palace art or folk art, whether it is literati painting or religious painting, has accumulated a large number of rich and diverse artistic expressions through the creative practice of painters, artists and craftsmen in past dynasties. From painted pottery in the Neolithic Age to bronzes in the Yin and Shang Dynasties, from vessels and silk paintings in the Warring States Period to sculptures and reliefs in the Han Dynasty, from paintings in the Tang and Song Dynasties to porcelain in the Ming and Qing Dynasties, as well as paper-cutting, woodblock New Year pictures, architecture, ornamentation, costumes and masks, which are widely circulated among the people, fully embody various techniques such as grandeur and dexterity, simplicity or exquisiteness, neatness or extensiveness, enthusiasm or elegance, simplicity or luxury. Whether it's the brushwork of traditional Chinese painting or the rounded decoration; Whether it is exaggerated folk paper-cutting or woodblock New Year pictures with strong colors, these have provided rich expressions and schema decorative languages for the current industrial design. In the history of our country, the agricultural society has left a rich historical heritage. Many historical sites we visited and protected today are indispensable tools or buildings for social production in those days. To get out of a road of "national individuality", we must be rooted in the soil of national culture, learn from traditional arts and crafts, and make creative transformation, so that China traditional design elements have both "national individuality" and "times" in contemporary industrial design, so that our industrial design can be truly "international". Www.lwkoo.cn's graduation thesis, paper net

After a long history, China traditional art has gradually formed patterns and ornamentation with typical cultural connotations. They include figures, plants, animals, totems, geometric symbols and other forms of images, as well as some widely circulated allusions, idioms, legendary figures and scenery, as well as some established things and combinations. These image elements with strong local flavor are an important part of national arts and crafts. If these elements with national characteristics are organically combined into modern industrial design, it will undoubtedly bring a fresh wind to the monotonous modern industrial design style.

The Necessity of Integrating China Traditional Craft into Modern Craft Design

Belief is an important part of culture and the inheritance and development of traditional arts and crafts. Without the foundation of culture, faith will disappear. There is no way out for modern industrial design to abandon China's traditional arts and crafts and follow the western ass all day. Moreover, with the design strategy of rejuvenating the country abroad, not only the design products sold in the market, but also their national cultural connotations have come. These cultures are deeply affecting our lives through the use of their products, and even diluting the inheritance of our traditional arts and crafts civilization in China. Isn't this enough to make us feel ashamed in front of the spirits of our ancestors?

Therefore, it is necessary to integrate China traditional arts and crafts civilization into modern design and create our own industrial design culture, so as to carry forward and continue China culture. Otherwise, the Chinese nation will lose its proud 5,000-year-old culture, and then we will stand tall in the world? How can we tell ourselves that we are descendants of the Chinese people and descendants of the dragon?

Therefore, as a designer, we must be good at grasping the essence of modern industrial design. To grasp the essence of traditional elements requires constant study and experience in life. At this point, I think the educational model and the essence of exam-oriented education in our country are very unfavorable for the next generation to learn and guide traditional design elements.

Integrating China traditional design elements into modern product design is not simply drawing patterns with China traditional characteristics on the product surface. The integration of culture into products should be the integration of spiritual civilization and cultural emotion, which is naturally expressed by the products themselves, conveying the cultural connotation carried by the products, and is the embodiment of the spiritual value, the third value of the products above the economic value and aesthetic value.

conclusion

Integrating the design elements of China traditional arts and crafts into the design of modern products is not only a catalyst to enhance product value and promote China products to the world, but also the only way to inherit and carry forward China culture. If we fail to pay attention to the design elements in our profound China traditional arts and crafts, and always imitate or even copy the West in our design, then our industrial design will always lag behind the world, and our culture is likely to disappear under the impact of world culture. At that time, what we left to future generations was only five thousand years of sorrow.

refer to

1 Hang Jian/He Jie/Jin Daiqiang editor: China traditional graphics and modern visual design [M] Shandong Pictorial Publishing House, 2005.

2 Yu-sheng Lin's creative transformation of China tradition [M] Sanlian Bookstore 1997

3 Zhao Nong China Art Design History [M] Shaanxi People's Fine Arts Publishing House 2004 1 month.

4 History of Arts and Crafts in China Zhang Mao Ping of Hubei Academy of Fine Arts Zuo Qizhi Yu Qin, Hubei Changjiang Publishing House 2007 is not my original work, but I read it and the principle is the same. You can regard it as a traditional auspicious pattern in China and one of the traditional crafts.