The above is only a case of pure art, reflecting the similarity in modern design. Although due to the dual nature of technology and art in product design (including architectural design), this type of follow-up to Western art is greatly limited, but it is not to be outdone in terms of graphic design, packaging design, interior design, etc. China's so-called "avant-garde" and "pioneer" are largely consciously or unconsciously integrating themselves into the West's decadent group or simply becoming advocates of Western ideology. The “The Literature and Art†once published a signed review by Han Wei, titled “The Hot Spots of Art, Ideology and Contention,†which exemplifies modern cases at home and abroad and criticizes “avant-garde†arts that have been advertised as being far from politics. .
Of course, it is not easy for China’s modern design to go beyond China’s own path. Some problems exist not only at the artist and designer level, but also at the decision-making level. For example, the author of the article “Fine Art, Hotspots of Ideology and Contention,†is pleased to break through the incomplete red wall and “My Dream†that symbolizes the fall of Marx (avatar) and bloody tearing of lives. "Young People" was awarded the National Oil Painting Exhibition Excellence Award and Silver Award respectively. It was known as "Boldness is set against a black background," and "The Five-pointed Star" which broke through the "broken and incomplete" of the "red zone of Venus" was awarded. The Gold Medal for the 9th National Art Exhibition; the “Comprehensive Landscape†(formerly known as “The Red Wall Narrativeâ€), which “disclosed the grim aspect of Chinese historyâ€, also deserved the gold medal. After being resolutely resisted, some people brutally cancelled all the gold, silver and copper of the year. Criticisms such as the setting of prizes, etc., illustrate the more serious problems.
However, we are materialists and we should have a clear understanding of modern Chinese design in the shadow of globalization. In the future development, China’s modern design will inevitably have a situation of major polarization and major restructuring. This situation may have three trends: some will be completely Westernized in the tide of commercialization of materialism. There are two kinds of future in this part. One is to become a vassal of Western art; the other is to become a pawn of Western art to "transform" China. However, this part will eventually become very rare. The other part is still immersed in traditional culture and art. Without knowing whether it is dross or not, it is good for all ancestors. This part is also a very small number. There are also two kinds of their future. One is to hold the balance, and one is the end; the other is to step out of the siege city to catch up with the pace of the times and get a new life. In the end, it is also the vast majority of Chinese art and design. It follows the literary and artistic guidelines of Comrade Mao Zedong’s advocacy of “For the sake of the past, the foreign for the Chinese, the blooming of flowers, and the promotion of new ideas.†Adhere to the correct direction of Chinese culture and art, and actively explore the national culture and art. Inherit, develop, and go to the world. This may be a very difficult and painful process, but it can become the backbone of the Chinese culture and arts. Only by taking this correct path and flying out of the phoenix from purgatory can the Chinese culture and art be established in the world's cultural arts. Lin, seeking great existence, seeks great development. This is what China’s modern design should be, and it is also an inevitable path to take and the direction to be advanced.
To sum up, the direction of China's modern design is bound to stand in the world of culture and art. It combines the advanced culture and art of the world with the essence of Chinese culture and art, and modern design with Chinese characteristics. The power to represent this modern design with Chinese characteristics is not a small number of “avant-garde†artists and designers who claim to be “eliteâ€, but rather a large number of artists and designers who grow on the rich soil of Chinese culture and art. This point is undoubtedly questionable. In old China, Japanese militarism promoted enslaving education in the northeast of China for fourteen years and enslaved rule in Taiwan for nearly 50 years. Although there have been a few colonialist cultural phenomena, It has never been the mainstream of Chinese cultural development; cities such as Shanghai that were once occupied by colonialism have not been completely colonized. On the contrary, many colonizers have been “sinicized†by their opponents—the colonialists. It is not uncommon. It is true that the facts of history cannot explain that our artists and designers in China today can let themselves go. We must make arduous efforts to make great contributions to the exploration of modern Chinese design.
Author: Tian Ying Extension Source: Design Online