The design should be like the simplest “one†structure in Chinese characters. Although it is just a plan, it becomes a symbol, a semantic or other carrier, and it even exists in a cultural form.
Humans classify the previous civilization as "prehistoric civilization". If "prehistoric civilization" is still in a state of civilized chaos, then after the appearance of words, civilization will become clearer and brighter. There are three statements about the generation of words: First, the text was invented by Fuxi; second, the origin of the Chinese characters originated from knot-knots. According to legend, even if the knots began from Shennong, the Chinese characters were considered to be created by Shennongshi; The creator of the Chinese character is the official clerk of the Yellow Emperor. No matter what kind of doctrine, it is not unrelenting. Because from the point of view of social development, it is impossible for a person to create and invent a word in the primitive stage where the level of production and the level of culture are very low. From the point of view of words, it requires a long historical process. And no one can live such a long time. Therefore, there is reason to believe that writing should be the result of collective wisdom. When the society develops to a certain level of civilization and the level of production continues to increase, it will inevitably require the creation of a common visual symbol on the basis of a common culture to record major events. This is an inevitable trend in this kind of social development. Now. The birth of text, in fact, is a design. South Africa's CROSS COLOURS design company once said: "Design is a need, not a decoration."
The design of "one" in Chinese characters should be the greatest. It is like a bridge linking prehistoric civilization and later civilization.
"One" is changeable. On the basis of "one," there are "two" and "three". "One" is actually a horizontal one. From a geometric point of view, it is actually a straight line in the horizontal direction. . Add a vertical line on the horizontal basis, then it becomes a "ten." Add a vertical line in the horizontal direction so that it becomes a "coordinate." In the vertical and horizontal lines, there is then another... "A" is regarded as the foundation of all things and the root of everything in Chinese culture. Taoism said: “One Taoist, one in his life, two in his life, and three in his life.†Zenjiayun: “One flower and one world, one tree and one bodhi.†If you say that this vast world is a tangible surface, then “one "This is the point element that makes up this surface. Chinese culture has always advocated an aesthetic point of view of "doing a little in one's face." Shi Tao explicitly pointed out in his "one theory of paintings": "A piece of paper falls on a piece of paper, and all the pictures follow." "A painter, the public, the Vientiane Roots are used for God, and Tibetans are used for people. The world does not know that the law of painting is the law of self-establishment and the establishment of a painting.
"One" is also constant. From "Oracle" to "Shushu" to "modern Chinese characters," "yi" is always "yi" and has never changed in structure and meaning. In the category of Chinese cultural traditions and aesthetics, the aesthetic realm of "anti-return to basics" has always been advocated. Su Shi had proposed the aesthetic idea that "the beauty of the orchids is flat and flat", which is in line with Laozi's "all things are in one". The "one" at this time is no longer just a simple Chinese character, it is generated as the basic element of this vast world. It is also a necessary condition for the development of things to a certain extent to continue to sublimate. The areas it covers are no longer limited to art and philosophy. It even affects people's traditional thinking patterns. When people write the “oneâ€, they are always habitually left-to-right. From this point alone, we can see that the Chinese people follow the nature of Confucianism and the spirit of the scholar-bureaucrat. This undistinguished personality has continued for thousands of years. It is no wonder that when Chinese literati are in desperate times, they either commit suicide, or hide in the mountains, or trace the empty door... They accept and accept themselves spiritually. Such as Tang Yun's poem: "Sunrise and sunset, the flowers bloom year after year. I hope old dead wine and wine rooms, do not want to break before the chariot." Pursue a kind of transcendent realm, return to a most primitive state . When the design has developed to a certain level, the designer has felt that when the source of his creation is exhausted, he may wish to give the holiday a time off and return to a primitive state, saying that there may not be unexpected gains.
In Han Shu-Liang Zhi Zhi, it is pointed out that “images like images are transferred from under the guise of borrowings†to “Liushiâ€, which is the basis for making characters. In the symbol of "a", it seems to be insulated from the "six books," and there is a feeling of "beyond the three boundaries and not in the five elements." I have to admire the "great abstraction" exhibited by the ancients when they designed "a." This abstract way of thinking is just as inclusive and integrated in Chinese culture. The abstract "i" itself does not explain anything, but it is a great semantic meaning to compose it into words. Just as the study of metaphysics in the Wei and Jin Metaphysics emphasizes the necessity of exploring the existence of the universe, it seeks to explore its ontology and nature through the phenomena of the universe. Metaphysics believes that "nothingness" is the basis for "having" and "one" is the basis for "many." If there is nothing, then "one" is "nothing," but this is a mother, and it embraces the basic elements of life. This is similar to what the Buddhists said: "Color is both empty and empty is both color." (herein "color" refers to all kinds of things) is the same reason.
Modern design increasingly recognizes localization. Localization is the recognition of indigenous cultures, rather than the identification of symbols or figures. Explore the connotation of local culture, find the point of collision between traditional culture and its own personality, and form its own design style. This is where the essence of design localization lies. The success of Japanese design can not but be said for their success in the design of the Eastern concept. Although the cultural characteristics of the Daihwa people are traced to the legacy of the Chinese civilization, in the design works of others, the “normality†of Eastern culture is far more transparent than the Chinese designers. Everybody in Japanese design Mr. Fukuda Tomoo pointed out: "There can be no redundancy in the design." From this point of view, it is not difficult to see that there is a common point of agreement between his design philosophy and Chinese traditional aesthetics.
Japanese design uses traditional concepts, modern elements and composition techniques, and is at the forefront of design. This cannot but be worthy of learning and learning from Chinese designers.
In China, designers are blindly pursuing "taking in", blindly pursuing "inclusiveness" and one-sided understanding of "all things are one." As a result, multiple elements appear in the design without being unified. As if trying to express one thing clearly, it becomes more and more clueless. “The metaphor for music is to be happy, and the attention to the material is to be sick.†“In the form of painting, see the neighboring child.†These aesthetics of Su Shi all point out the academic ideas of the point of view. When everything is exhausted, everything is clearly stated, but the original meaning is lost. It is the essence of Chinese culture that has come to an end. Because it inspired thinking. This is exactly the same as the "individualization" we emphasize today. Shi Tao's aesthetic view emphasizes "having me" and emphasizes the difference. This is what this means.
I think that the concept of "one" is an abstract concept that gives people a great deal of imagination. When Lao Tzu explained what Dao was, he said, "The Tao is the object, but you are the only one who knows you." "The Tao can be said, very much. The name can be named, and the name is very unusual." This explanation is also very abstract and ambiguous. The thinking space for people is also very broad. This is suitable for the Chinese people's vague mode of thinking. The Chinese have always been unwilling to make a clear affirmation or negation. Words such as “possibleâ€, “maybeâ€, “probably†and “probably†often appear in people's thinking and reflect the characteristics of a certain overall culture. Confucian's golden mean is to have such characteristics. Pay attention to what is always within the "rules." Taking an abstract concept as a proposition, due to the reader's self-cultivation, social experience, and knowledge structure, thousands of answers will be made. This is probably the truth of "life." The thousands of answers are all based on that abstract proposition, and they will never change their identity. Then there is the concept of “all things to one thingâ€. The most abundant things to perform under certain conditions are the most basic principles of design. The Chinese have been paying attention to "they are more than capable". For example, square words, no matter how simple the strokes are, they can always behave beautifully in a specific space. The reason why “beauty†is “beauty†is, from the perspective of Chinese traditional aesthetics, its emphasis on the balance between symmetry and force. Because China has always advocated the aesthetic principle of “complementary yin and yangâ€, the extreme symmetry of the Forbidden City is an example. In terms of modern constitution, "beauty" is composed of a point and a line, a straight line and a curve through formal beauty rules. It can be seen that such a wealth of knowledge has been nurtured in the confined Jiugongge.
In fact, Benjamin's design is to seek space in his limitations. "The dancers dance and dance, and they are the basic skills of design."
As the saying goes, "having tolerance is big," and in today's "big design," the design of learning should be like the Chinese character "a." It may seem simple but all-embracing.