The release of landscape design for the torch relay of Beijing Olympic Games mainly includes five parts: torch and extension design, design of running fleet and aircraft, design of torch relay clothing, environmental design of torch relay site and urban landscape design. The landscape design scheme has a unique visual effect, which is obviously different from previous Olympic Games. It is a perfect combination of traditional culture and modernity in China, and has profound implications.
national torches
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The concept of "the sky is round and the place is round" is adopted in the design of the city celebration torch basin, and the Ding, the representative of Chinese bronze ware, and the auspicious cloud pattern are the design elements. The 56 auspicious clouds hollowed out at the top symbolize that 56 ethnic groups in China bring blessings to five continents; Four pillars and eight sides symbolize that the Beijing Olympic Games welcomes guests and friends from all directions; The height of the cauldron is 13 cm, symbolizing that the torch relay of the Beijing Olympic Games lasted for 13 days. The basin is 29 cm deep, symbolizing the 29th Olympic Games. The height of the column is 112 cm, which symbolizes that the Olympic Movement has gone through 112 years from 1896 to 28.
blending natural landscape with human landscape, combining traditional culture with modern civilization
Baitang Lake reproduces charming scenery
On the third day of the fifth lunar month this year, on the sparkling Baitang Lake, gongs and drums roared, and 27 dragon boats squared their postures, and the shouts seemed to be tight for a while. After a lapse of 12 years, Hanjiang people finally saw the ancient dragon boat race at their doorstep. The 81-year-old aunt Chen in Shangwu Village was fascinated and giggled with her shriveled mouth: "Where can I find this wide, flat and clean water surface now!"
According to the organizer, Hanjiang District chose Baitang Lake to hold the Dragon Boat Invitational Tournament this time. The purpose is not only in the event itself, but also in a deeper sense, so as to fully tap the traditional cultural heritage of Baitang Lake, improve the tourism taste of Baitang Lake and promote investment attraction. The mysterious veil of Baitang Lake is being lifted layer by layer.
Baitang Lake, also known as the White Pond, is the largest natural lake in the province, with a main lake area of 385 mu, including more than 6 mu of inland river water, and the surrounding rivers are criss-crossing, which is almost like "storing thousands of hectares". "Autumn Moon in Baitang" is one of the 24 famous scenic spots in Putian. On the night of Mid-Autumn Festival, "the Milky Way is bright, the rabbit's spirit is in harmony, and the boat is woven, and there is an endless stream". Last year, Yangwei Village, the only "provincial historical and cultural village" in the city, is located near Baitang Lake, which adds a lot of color to the development of Baitang Lake.
On June 8th, just after a rainy day, the author wandered around the lake Baitang, only to see the blue waves rippling on the lake, and there were thirty or forty fishing enthusiasts scattered on the curved shore in the north. Chen Fengming, from Chengxiang District, told me that the scenery here is very beautiful. As long as anglers pay five yuan, they can enjoy a leisurely fishing life for one day. In the past two years, he has been fishing here almost every weekend, catching at least six or seven pounds a day, which not only earns back the capital, but also enjoys the happiness in vain! But according to the local people, a few years ago, Baitang Lake was not as beautiful as it is today.
Baitang Lake was once dubbed as an exiled girl. Because it was located in the lower reaches of Mulan River, water hyacinths once spread on the lake, domestic garbage floated, and cage culture was uncontrolled, resulting in serious pollution and lack of management on the lake shore. Every Mid-Autumn Festival, the bright moon is in the sky, the muddy lake is muddy, and the name "White Pond and Autumn Moon" is not true.
in recent years, the Hanjiang district Committee and government have attached great importance to the construction of Baitang tourist scenic spot. In just two or three years, they have invested nearly 1 million yuan to comprehensively rectify the inland rivers in the whole region, and straightened out the geographical affiliation with Baitang Lake in Putian County, changing hundreds of acres of cage culture into natural fish farming. At present, the district government has invested more than 13 million yuan, requisitioned 142 mu of land, adjusted 123 mu of land for industrial structure, and built more than 3, meters of slopes along the lakeside revetment. A peach blossom forest, a litchi belt, a plum blossom forest, a green belt and other supporting scenic spots have been initially built, and peaches, plums, lychees, willows, Ficus altissima, African jasmine, lobular orchids, red butterflies and flame have been planted.
In the District Tourism Bureau, the author saw the detailed planning materials of Baitang Lake designed by experts from Suzhou Garden Planning Institute, which established a plan based on natural landscape and human landscape, highlighted the combination of traditional culture and modern civilization, and emphasized the local characteristics of ecology, water town customs and historical and cultural atmosphere. The 2.4-square-kilometer scenic spot of Baitang Lake is planned as five parts, namely, landscape viewing area, Baitang Lake park area, historical and cultural protection area, ecological park area and senior villa area. It is estimated that the total investment will be 33 million yuan, and the whole project development will be carried out in three phases, with about 8 mu of land available for development along the shore of the lake. The huge investment plan is far from enough to rely solely on the financial resources of the government. Hanjiang District has broken through the train of thought and taken the road of attracting investment according to the principle of "whoever invests benefits". It is understood that investment has entered the stage of substantive negotiation.
When talking about the significance of the development of Baitang Lake, the leaders of the District Tourism Bureau said that after the development, with Baitang Lake as the leader, the Ruiyun Mountain Forest Park in the Ocean, the Jiaju Sacrificial Cottage in Zheng Qiao, Xinxian County, and? Lulvyuan rafting, hot spring fitness, Jiangkou Nangshan Temple and other one-stop range-climbing tourist routes, while accepting the radiation of Meizhou Mazu, Jiuli Lake, South Shaolin and other famous scenic spots, thus promoting the Hanjiang River to form a "big tourism" pattern.
Combination of Tradition and Modernity
-On the nationality and times of art design
The term art design was formally put forward by the Ministry of Education in 1998 when it formulated a new catalogue of colleges and universities, but its development was far before this. Because the design organization system was born out of the design consciousness, materialized design consciousness and derived from national design consciousness, it was designed with people. In order to survive and live, human beings constantly pursue something. In order to meet this demand, human beings create with their own hands. People's needs are various, and the development of material and spiritual art design is a long process. There are needs to meet human physiological needs, security needs, social needs, respect needs and self-realization needs. In order to meet the needs of life and the richness of needs, people have different levels, different varieties and different forms of creative activities. This is how art design comes into being and develops in the activities of creation.
Art design can reflect a nation's life style and scientific and technological level in an era, and its spiritual performance reflects a nation's aesthetic psychology and fashion in an era. Therefore, it is necessary to combine the nationality and modernity of art design. Tradition is the basis and condition for design, and the era is the basic material for design development. Only by effectively combining the two can we create a perfect art design and improve the quality of human life. The past, present and future of a great nation will be accompanied by the development and prosperity of literature and art, and truly great works of art are always full of nationality and contain distinctive and rich national temperament. They are the flowers and fruits of national consciousness and national spiritual life. The key to the nationality of artistic works lies in the national spirit and the unique way and vision of a nation to understand things and observe the world. There is a natural connection between national art and national spirit. The spirit of the times is the basic factor and main material that constitutes the value of literature and art, and it is the basic value pursuit and orientation of great art. We should actively absorb all outstanding achievements in Chinese history and foreign culture, and resolutely abandon all feudal and capitalist cultural dross and spiritual garbage. We should take an analytical attitude towards China's historical culture and foreign culture, and ask how art designers can "promote national art and inspire national spirit" in their own practice. Consciously cherish and make full use of the precious spiritual wealth of literary masterpieces and literary masters produced by our nation at various stages of historical development. Artists should consciously respect the creative spiritual labor of writers and artists, and enthusiastically encourage and expect them to create new literary masterpieces and produce new literary masters in reflecting the new historical struggle of our nation and the profound spiritual call of the people. Actively absorb the outstanding cultural achievements of other nations in the world and realize the cultural progress with the times. Culturally, we should never adopt a narrow nationalist position and attitude that is self-enclosed and blindly exclusive. Because all kinds of thoughts and cultures in today's world have both progress and similarities.
The famous cultural anthropologist Marinlovsky said, "In human social life, the needs of all living things have been transformed into the needs of culture." Modern art design is a design discipline based on culture, life and modernity. Therefore, whether in theory or in practice, we should treat art design as a cultural form: in modern society, the study of design theory is not only an in-depth analysis of a discipline, but also an integrated view of multiple disciplines. Viewing art design activities as a cultural phenomenon is not only the satisfaction of simple material functions and spiritual needs, but also the connotation that modern designers must explore. China traditional graphics, endless, has a long history, not only because its shape has a good appreciation value, but more importantly, these traditional graphics we see often contain more and deeper auspicious significance. China's auspicious culture is a complete set of artistic forms under the guidance of idealistic romantic thoughts, which shows our ancestors' attitude towards a better life and avoiding misfortune by means of metaphor, analogy, pun, homophonic and symbol. The concreteness and abstraction of auspicious culture and art in China exist in parallel, and the abstraction comes from the concreteness. The concreteness is the expression of the abstraction and the perfect and ingenious combination of sensibility and rationality. The external form is the way to express the internal meaning, and it is the externalization and materialization of the internal meaning. The meaning behind China's traditional modeling is people's expectation and yearning for beautiful things, so the auspicious meaning behind the traditional modeling is also applicable to modern design and to convey modern people's design ideas. For example, the logo of China Unicom adopts the shape of "Pan Chang", one of the "Eight Auspiciouss" originated from the eight treasures of Buddhism, which means "a long history and endless life". The continuation of this auspicious implication makes our modern design less commercial and more cultural and friendly. It is also a good method of modern design to use the auspicious meaning behind traditional graphics in modern design, so as to extend the newer and deeper concept spirit and make it more cultural and social. It is indispensable to learn from traditional forms, but the inheritance of "form" and "meaning" is only a superficial development and promotion of traditional modeling, and the creation of a new national form needs us to get rid of the materialized appearance of aesthetic tradition and enter the deep spiritual field to explore. China's art pays attention to vividness, the description of God is higher than the description of form, the subjective feeling of objective objects, the aesthetic inner experience and the feeling of "charm". It does not conquer readers by the vividness of "reproduction", but makes "God" transcend perceptual phenomena and sublimate in the mind by the vivid way of "things", thus forming China's unique aesthetic taste. Only on the basis of deeply understanding the traditional artistic spirit and fully understanding various design trends from the modern west, can we make a national form that conforms to the new era and find a modern design that truly belongs to our nation and can be recognized by the international community. In this regard, the emblem of the 28 Olympic Games, "Chinese Seal Dancing Beijing", can be said to be a good example. The whole logo modeling borrows the expression form of traditional art seals, uses the unique freehand brushwork method between likeness and dissimilarity in China, and combines the traditional art forms such as seals and calligraphy in China with sports characteristics. After artistic exaggeration and deformation, it is skillfully transformed into a sports humanoid running forward and dancing to meet victory, and the character modeling looks like modern ". Therefore, we should see that although the highly scientific and information-based modern society has brought great impact on the traditional plastic arts, it has also brought new opportunities for development. The introduction of new ideas and ways of thinking provides more possibilities for us to re-examine traditional cultural concepts. As long as we grasp "God" and "Meaning", we will eventually find our own new "image". In a word, we emphasize the absorption and integration of spirit, because only the absorption and integration based on philosophical spirit can realize the real integration of aesthetic consciousness. Only the absorption and integration of spirit can avoid copying the fixed pattern of traditional art, resulting in the diversification of modern design styles and design forms in China. Absorbing in comparison and inheriting in comparison will be a road for China's modern design to become brilliant. I believe that in the near future, China's modern design art will surely attract the world's attention with its rich national style and strong sense of modernity.
the nationality of art refers to "using the unique artistic forms and techniques of the nation to reflect real life, so that literary and artistic works have national style and style." Artistic works with national characteristics are based on the national cultural and artistic traditions and aesthetic consciousness, and are created in traditional artistic forms, which mainly show the life, thoughts and feelings, aspirations and artistic aesthetic taste of the people of this nation. To maintain the nationality of art, we should not be arrogant and ignore the essence of his national art; Absorbing the essence of his national art is not to dissolve the national personality. We can't pray for an art that contains all the advantages of art, but should constantly absorb the essence of other national arts to improve and develop our own national arts. The contemporary view of art is to get rid of the shackles, emancipate the mind and abandon the national cultural traditions, which is an expansion of power beyond the class. As far as art is concerned, it is a form and content that can be accepted and accommodated by many nationalities.
on the big stage of design art, nationality and times are complementary, contradictory and unified dialectical relations, and only the combination of them can make design art more brilliant.