Through this "Tai Chi Diagram", the ancestors and sages told us the following truth: in a unity, whatever is beneficial to the other party will be beneficial to the harmonious unity of the whole, and will in turn be beneficial to itself. This The "Tai Chi Harmony Principle" is widely applicable and applicable no matter between individuals, families, ethnic groups, countries, or even between humans and nature. In the concept of design, we call this form "give and take." It is precisely because of the profound meaning contained in this Tai Chi diagram that the United Nations selected the traditional Chinese Tai Chi pattern as the emblem of the World Conference against Racial Discrimination held in South Africa in August and September 2001. The designer artistically processed the Tai Chi pattern, adding different levels of gray as a transition between the black and white yin and yang poles, symbolizing that although people of various countries are different in race, culture and region, they can learn from each other's strengths and live in harmony in this world. . This symbol not only promotes Chinese culture to the world, but more importantly, spreads China's principles of peaceful coexistence and national spirit of unity and friendship to the world. The most representative one today is the logo of the 2008 Beijing Olympics. From the bid emblem designed in the bid to host the Olympic Games to the official Olympic Games emblem, they fully demonstrate China's characteristics and have been unanimously praised by the world. The emblem of the bid consists of the five Olympic ring colors, looks like the "Chinese knot" of traditional Chinese folk crafts, and also looks like a human figure doing Tai Chi. The "Chinese knot" symbolizes good luck and good luck, and also embodies the spirit of heart-to-heart connection and unity among every Chinese people; Tai Chi is the quintessence of China. The entire pattern is like flowing clouds and flowing water, harmonious and vivid, full of movement, symbolizing the unity and cooperation of people around the world. , exchange, development, and work together to realize the profound meaning of the innovation century.

The formal logo is even more outstanding. This logo is called "Chinese Seal·Dancing Beijing". It combines traditional Chinese art forms such as seals and calligraphy with movement characteristics to convey and represent the three levels of Meaning: First, the traditional Chinese culture Chinese character seal is used as the main pattern expression of the logo, and the traditional Chinese color red is selected as the base color of the theme pattern, which reflects the characteristics of Chinese culture, represents the nation and country, and represents celebration and peace. Second, the main part of the work resembles the character "京" and a dancing "person" with open arms, which fully reflects the ancient yet modern China and conveys friendship, sincerity and enthusiasm. Third, the work cleverly transforms into a human figure running forward to welcome victory, which fully embodies the Olympic purpose of faster, higher and stronger, emphasizing the athletes as the main body and the healthy and upward spirit, full of dynamic and vitality. This logo vividly expresses Chinese culture and the spirit of the Olympic Games. International Olympic Committee President Rogge was also full of praise, saying that it "not only showcases China's historical and cultural heritage, but also conveys the youthful and energetic spirit of a great country with a bright future."

In fact, there are many such designs, such as the ancient Chinese knife-shaped coins used in the logo of the People's Bank of China; the dragon shape pattern that symbolizes vitality and prosperity in the logo of Dragonair, etc. , are well known and loved by people. Just in the small space of logo design, we can all realize how much creative power traditional culture has brought us, not to mention that there are countless such examples in various other modern cultural and artistic fields. of. Therefore, tradition does not mean that it is outdated, and traditional culture will not fade away like the sun sets over the mountains. The key lies in how we bring out the old and bring out the new, so that the past can be used for the present and carried forward. We can’t just “protect” Chinese traditional culture as historical relics, let alone treat them like worn-out shoes, fearing they will be thrown away. What we need is to promote Chinese traditional culture. In order to achieve this goal, I want to serve as every artist engaged in art. Design workers should do our best to shoulder this responsibility.