1. The expression of ancient Chinese painting theory in ancient design Li Keran, a famous modern Chinese painting master, pointed out: "Understand life deeply and comprehensively, boldly and highly craftsmanship." ① This should be the characteristic of Chinese painting and embodies the characteristics of Chinese painting. creativity of the subject. The highest realm of Chinese painting is artistic conception, charm, virtual reality, management, etc. The argument transcends painting and sculpture, transcends the society at that time, and has a huge impact on other art fields, especially design theory.
1. Xie He of the Six Dynasties put forward six methods of painting in his "Ancient Paintings": "One is vivid charm, two is the brush method, three is the image of the object, four is the color according to the category, the five is the position, and the six is ??the biography." "Model writing."
"Vivid charm" is the general requirement for the work, and it is the highest state in painting. This requires that the painting should fully express the inner spirit of the characters with vivid images. "Six Methods" is a systematic summary of ancient Chinese painting. The "six laws" are an interrelated whole. Several other aspects of the "Six Methods" are necessary conditions to achieve "vivid charm"; they pay attention to clear priorities, appropriate distance, regular composition, density, unevenness, and straightness, which are suitable for gardens. Ji Cheng, a famous gardening theorist, advocated a high degree of consistency between architectural design and painting theory in his "Garden Governance". Ji Cheng himself was a Chinese painter. For example, choosing cool colors for private gardens in Jiangnan was a summary design of architectural colors.
2. Zhang Yanyuan's "Notes on Famous Paintings of the Past Dynasties" "The intention lies in the pen first, and the intention lies in the painting."
Meaning is the dominant party, and the image is integrated with the image. "The intention comes first with the pen, and the mind is confident" means that the heart and nature, subjectivity and objectivity are integrated seamlessly, abandoning reason, and showing the artistic conception. It requires the painter to consider the overall situation before painting, not to scribble randomly, but to carefully examine the entire layout. , coloring, spirit, momentum. Song Liang Kai's "Taibai Xingyin Picture" is not limited to details, but chooses instantaneous movements to outline the elegant charm of the "Poetic Immortal" vividly and concisely.
At the same time, in traditional pattern design, the relationship between unit elements and the whole is particularly important. Traditional continuous pattern design methods include scattered dots, ripples, polyline, chain, and continuous patterns, etc. The design formula is very rigorous. For example, when designing a carpet, if you only focus on the corner pattern without considering the continuity of the entire width, it will definitely not be done well; if you design a four-sided continuous pattern without considering the effect of the continuous unit jacquard, it will also fail. If you make four screens and only pay attention to the pictures of each screen without considering the continuous effect, it will not be a complete work.
3. "Void and spiritual, empty and wonderful" in Shi Tao's "Bitter Melon Monk's Painting Quotations".
Analysing the works of Gu Kaizhi of the Eastern Jin Dynasty, "The Picture of Proverbs of a Female History", and the works of Yan Liben of the Tang Dynasty, "The Picture of the Chariot," we can see that the pictures are all represented by a void background, which highlights the actions and postures of the characters and omits background depictions. The relationship between virtuality and reality is more obvious in the works of Bada Shanren. It also affirms the existence and non-existence, reality generates virtuality, writes black and white, emphasizes the contrast between virtuality and reality, sees virtuality outside the image, leaves virtuality inside the image, senses virtuality outside the painting, and infiltrates virtuality into Real image, virtual reality blend into one. In Chinese classical garden design, ancient people often used the aesthetic principle of virtuality and reality to arrange space, expand space, enrich beauty, and create artistic conception. Adopting "turning reality into virtuality" and "turning virtuality into reality", we create many garden art expression techniques and techniques, organically integrating natural beauty and architectural beauty. For example, the Humble Administrator's Garden in Suzhou, known as the "Mother of Gardens in the World", pays great attention to winding paths leading to secluded areas, and is a model of virtual and real artistic conception.
2. The influence of the aesthetic ideas of Chinese painting on modern design
1. Xie He’s “Six Methods” emphasize that the inner spirituality of people is in line with the law of design development.
Design is essentially human design, especially humanistic care reflected in postmodern design and increasingly prominent in modern society. People's spiritual products are subjectified, such as experience design. Sezov defines it as: Experience design integrates consumer participation into design. It is the enterprise that uses services as a stage, products as props, and the environment as the scenery, so that consumers can participate in business activities. The process of experiencing beauty. For example, the design of luminous pillows and Apple computer designs are all based on people's experience needs. Experience design emphasizes people’s inner spirituality.
In addition, "vivid charm" also refers to expressiveness.
In art design, the emphasis is on design creativity and expressiveness. A good design work must have spiritual connotation. For example, Jin Daiqiang's works show a strong spirit of traditional Chinese culture.
"Business location" also refers to design composition. Composition is an important part of all visual arts, especially in modern composition expression. The visual process theory of modern Western art design emphasizes the coherence of graphics, the rhythm of pictures, the center of vision, and visual dynamics. Its essence is the embodiment of Sheikh's "Six Methods" spirit.
2. Zhang Yanyuan’s idea of ??“writing first and painting with intention” is in line with the principles of modern art design creation.
The representation of design symbols and the creativity of design are expressed visually. The symbolic function of design is another important aspect of cognitive function. The symbolic function conveys the information connotation of "what it means". Art and design are connected. Artists and designers are good at finding a focal point and using this focal point to show the rest. Because they are not exhaustive, they appear to be endless. This is the so-called introduction of one to summarize all, the words are exhaustive but the meaning is endless, and the endless is shown in the exhaustion. , in order to achieve the highest state of implicit beauty of "empty means something, and something means empty". Jin Daiqiang pointed out the three principles of design: conception - idea comes first, and shape is used to derive spirit; innovation - inheriting the past and linking up with the future, breaking the old and establishing the new; utilization - being suitable for use, flexible and vivid, which refers to the artistic conception of Chinese landscapes and advocates incorporating the essence of traditional Chinese culture Integrated into Western design concepts, such as the Bank of China logo.
Be subtle and not stick to simple forms. Aesthetician Wang Guowei believes that "it is better to talk about temperament and charm than to talk about realm. There is realm, which is the essence. Temperament and charm are not yet. There is realm and the two follow." Implicitness can enhance the appeal of artistic design. It inspires imagination, has touching persistence, contains rich content, has its own special function and positive significance. Successful examples of implicit expressions can be seen in modern advertising design, product design, clothing design, and interior design. For example, the logos of today's Fortune 500 companies are all simple and subtle, with strong impact; Nestle's advertising slogan "The Beginning of Deliciousness"; Coca-Cola's "Forever Coca-Cola" implicitly conveys profound and broad meanings. There are also Italian "Memphis" product designs with simple styles and subtle expressions. In Jin Daiqiang's poster "Communication", traditional Chinese utensils such as stones, rulers, inkstones, and brushes have become the main creative elements of the poster. No matter how they appear, they are characterized by their strong, mysterious, extreme, cultural, and elegance. The magnanimity makes the viewer feel the different shocks expressed by different poster themes.
3. Shi Tao’s view of “the coexistence of virtuality and reality” is consistent with his artistic design creation methods.
In modern graphic design, in order to facilitate the spread of the image and allow consumers to remember it, the design needs to be concise, concentrated, and summarized. The expression of blank and virtual shapes in traditional Chinese art is unconsciously reflected in the works of many modern designers. The Dutch painter and graphics master M.C.Escher made perfect use of negative shapes in his works, such as "Eight Heads", "Fish", "Goose", "Lizard", etc., using the connection between different outlines of shapes. Relationships form a new shape. Each other’s physical lines are interdependent, mutually reinforcing, and interchangeable. Escher's research results on negative shapes have influenced many modern designers. In many poster works of Japanese designer Shigeo Fukuda, he makes full use of the relationship between positive and negative shapes to convey information and deepen the impression with his unique and concise graphic language. It is more difficult to accurately describe the object image. Finding, recalling, and appreciating the beauty of graphics are the highlights of modern graphic creativity.
In short, ancient Chinese painting theory is a unique national art formed in China's independent cultural system for thousands of years. The core ideological and artistic conception of Chinese painting theory - the source of the heart, the unity of nature and man, The charm, virtual reality, etc. are not only treasures of Chinese artistic aesthetics, but also coincide with modern design theory, which fully proves the guiding significance of ancient Chinese painting theory to reality.
Notes:
①Li Keran. Li Keran on Art[M]. People's Fine Arts Publishing House, 2006: 120.
References:
[1] Rudolf Arnheim. Art and Visual Perception[M]. Sichuan People's Publishing House, 1999.
[2] Yin Dingbang. Introduction to Design[M]. Hunan Science and Technology Publishing House Society, 2001.
[3] Wang Shouzhi. History of World Contemporary Art[M]. China Youth Publishing House, 2001.
[4] Peng Jixiang. Chinese Art Studies[M] ]. Higher Education Press, 2003.
Author’s unit: School of Art, Jiujiang University
(Editor: He Xiumei)