Chinese folk paper-cutting and modern design
Today, the development of traditional art has fallen into a very embarrassing situation. In the Chinese art and design world, it can almost be said that today’s designers are influenced by the theory of Western “Bauhaus” geometric structure modeling. , but no one really cares about China’s profound traditional art. In the words of Professor Lu Shengzhong of the Central Academy of Fine Arts, "The more you delve deeper into folk art, the more you feel todays impetuousness and shallowness. Especially in the transformation period of Chinese culture, it is even more necessary to find a higher level of return from traditional culture." It has been proved from many world-wide design competitions that most judges are critical of Chinas design level. In addition to being immature, the biggest disadvantage of the unified view is that it has no self-characteristics. In fact, in our words, it has no roots. So we began to pay attention to traditional art and actively use it, and we were pleased to think that we had found the root. However, the current design situation in China has not been fundamentally changed. However, the symptoms were clearly stated by Japanese graphic designer Nagai Kazumasa. When he inspected art and design in China, he once expressed concern about this situation, and frankly said to his Chinese colleagues: "When I look at Chinas modern design, I feel that you cherish traditional art too much, so much so that you directly replace patterns with Used for design." He politely described Chinese designers' unconsidered copying of traditional patterns in design works as "too cherishing traditional art." In fact, he saw that we did not understand or lack understanding of the art and design tradition. There is a lack of experience in how to deal with traditional things in modern design.
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It is obvious to all that Japanese designers have succeeded in using traditional art. Nagai Kazumasa believes that Japans success was once influenced by Chinese religious painting patterns and animal patterns, but Japanese designers "refined it to a level that was both mature and beautiful" by adding decorative changes and symbolic value, rather than Apply mechanically. In the early stages of the formation of modern Japanese design, they both "struggled to combine Japanese aesthetics refined from Chinese culture with Gassandels posters, Bauhaus theory, and later American advertising and editorial design techniques," formingIt has become the basic aspect of modern Japanese graphic design. That is, traditional culture is integrated into modern design through the selection and digestion of modern design thinking. Here, cultural tradition or the specific patterns, patterns, symbols and graphics that represent traditional culture are both tangible and recognizable, but also intangible, metaphorical and intrinsic, that is, structural and spiritual things. He believes that Chinese designers "need to further understand and digest their traditional art, because the cultural roots are rooted deep in it. They need to dig deep and inject a new design art nutrient to regenerate it." Only in this way can the deep meaning be made and the value of traditional art "as a new language of visual communication" come to life in design. Grasping the original characteristics and spiritual connotation of traditional art and integrating it into our designs should be what every Chinese art designer pursues.
It is obvious to all that Japanese designers have succeeded in using traditional art. The inheritance of traditional art in modern design is particularly important. Our country not only has the classics of great traditional culture and art, but also has the profoundness and breadth of small traditional art. However, China is a multi-ethnic country, and our cultural traditions are also diverse forms composed of multi-ethnic cultural traditions. We want to dig, but don’t know where to start. If you want to eat up Chinese traditional art and culture, you will bite off more than you can chew, and the problem will return to the starting point. In Shaanxi, out of its emphasis on folk culture, China has designated Shaanxi Ansai’s traditional paper-cutting art as an important part of its “intangible cultural heritage.” In fact, there are wonderful paper-cut works not only in Ansai, but also in many regions of Shaanxi. Because Loess Plateau culture gave birth to this magical folk art form, its foundation is so solid, its language is so profound, and its phonology is everlasting. However, paper-cutting, as an important part of folk plastic art, has not been recognized by people. Many studies only stay on the surface research of artistic characteristics without in-depth exploration of its overall form, cultural connotation, and shape structure, so that Our traditional art forms have always remained at a superficial stage, and we cannot accurately interpret the breadth and depth of our national art. Therefore, we must re-understand our great traditional folk art with a mature mentality.
