Third, the classical design of aesthetic significance
Although design can be large and varied, there will be a variety of classics, but if it can withstand the test of history and erosion. There must be deep and living things behind it, with more emphasis on the classic "common" and "permanent" directions or even through the appearance of the bones and even the spirit. For example, the Taiji figure, which is reflected by the appearance of the Taiji figure, is a kind of rhythm of life. Because of its depth of life significance, it becomes increasingly meaningful and intriguing, and can withstand the scrutiny of history. Another example is the architectural structure of the Forbidden City. It is not just a simple pile of bamboo walls, carved beams and beams. Behind it is the Ming and Qing Dynasty, especially the Ming Dynasty. In the Ming Dynasty that admires Confucianism, the design of buildings also reveals its era. The style reveals the aesthetic taste of an era and reveals a deep rational spirit.
The main axis of the Forbidden City is the axis of symmetry. It is laid out north and south. The layers are stacked one on top of the other. The Outer City, Inner City, and Miyagi Ring are advancing in an orderly manner, which conforms to the traditional hierarchical ethical concept and is stable but not rigid. Modest and far-sighted, distant and far-reaching, far-reaching, near-looking, solemn and stern, and far and near, and transmitting the spirit of Confucianism that has affected the people for thousands of years, is also an â€œintentional formâ€, not merely an appearance, it is saturated. With a strong national aesthetic. Moreover, the more mature the design is, the more obvious the aesthetic orientation will be, the more individualized it will be, and it will be closer to the cultural level. It will be closer to the spiritual level and closer to the â€œideal of designing the beautyâ€”harmonyâ€. (12) When the development of technology can easily meet practical purposes, the weight of aesthetics or art in design will become heavier and heavier, and because it is closer to the spiritual level, it is more likely to become a limitation of time and space and become Classic, this is one of the trends to be discussed next.
Fourth, analysis of the future of classical design trends
As the past is finally over, history is constantly advancing. There is an old eclipse of â€œclassicâ€ and new â€œclassicsâ€ continue to emerge. How will the future design develop? What about future classics? I personally feel that there are at least the following trends:
(1) Internationalization and nationalization (localization)
The new century is a century that focuses on communication. More and more extensive economic cooperation brings not only the convenience of consumers and the profits of entrepreneurs. It is accompanied by the communication and integration of culture and even the aggressive culture. The demise of the weaker culture. The boundaries between cultures will become more and more blurred, and the performance will be more prominent in design. Even now, it is not easy for you to tell whether certain products are produced in the East China or a certain country in the West; the globalization of the economy The forced convergence of cultures and the internationalization of design are unavoidable trends. The classics in the contemporary sense have not only spanned the times, but also spanned geographical areas, and were in an era of â€œbig living together and gathering togetherâ€. There are black, white, yellow and brown people around you. You must consider the needs and aesthetic preferences of each potential consumer/audience. The utilitarian nature of the design makes it impossible to escape the international trend. However, there are always two sides of things, and the aesthetic nature of design makes it impossible to abandon the pursuit of individuality. The nation is international, and people seek out oneself in a stereotyped manner. Only in this way can the design be personalized and only It is design - creation. Nationalization - personality in generality, speciality in general, and partiality in the whole. Its existence is based on the general trend of internationalization and is the harmony in comparison. "Only by being rooted in the soil of local culture and drawing on the good ideas and methods of outsiders, can we construct a system of ideas and practices that have their own uniqueness and do not lag behind the international trend." (13)
(2) Technology and Art
The new century is also an era of technology. No one can deny the enormous benefits that technology brings to mankind. A typical example is the development and popularization of computers and related industries. As an advanced design tool, it brings It is not only the reduction of labor time and the improvement of labor efficiency, but also the change of creative methods, or even the change of creative thinking. At the same time, it is accompanied by a change in the production process and materials, or a change in the means of design realization. Taking the graphic design as an example, it can be said that the history of a graphic design is accompanied by a history of printing, accompanied by the development and reform of the printing process; from the lead-printing to the digital color printing, the designer's creative ideas are almost impossible. Subject to any restrictions, free to play. Equal emphasis is placed on technology and art. Another characteristic that future classical designs should have.
(3) High degree of unity of form and content
As mentioned earlier, when technology does not become a problem, art will shine even more, and the composition of art in design will become heavier and heavier. On the one hand, designers and producers strive to attract/move consumers/audiences more through the competition of forms/art expressions; on the other hand, consumers/audiences themselves pay more attention to performance through the choice of forms/art expressions. Your own personal requirements and aesthetic tastes. Designers interact with consumers/audiences. Designers play a role in the dissemination and guidance of consumers/audiences; conversely, the improvement of aesthetics and aesthetics of consumers/audiences encourages the design to develop in a higher direction. The content and form of the design will be perfectly united on the level of art. The design will have more and more cultural tastes, will be more and more humane, and it will be closer to the realm of "combination of nature and humanity." What is involved here is just the problem within the art, that is, how to make the design beautiful and harmonious, and how to make the form/art form highly consistent with the content; then the classic is the real classic. Classic design, classic art.
Author: Tang Xueyuan Source: Design Online
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