Modern design, characteristics of traditional art

Writing the title of this article, "Plucking the chords of folk art and modern design," I can't help but think of Jean Clare, a well-known French art critic. Claire sits steadily in the position of director of the Picasso Museum, but is famous for sharply attacking contemporary avant-garde art. In his famous work "The Present State of Fine Arts" (1983), Claire undertook extremely difficult fashion to launch "avant-garde" (also known as "avant-garde") while at the same time emphasizing the nationality or regionality of art, emphasizing art. His immortality or "return to origin" features, he quoted painter Egon Schiele: "Art can never be modern, art is eternal return to origin".
In October 1997, Claire launched the book “The Responsibility of the Artist.” He continued to emphasize the regional nature of the art and the characteristics of “return to origin” and continued to make trouble for the avant-garde.
Claire is dedicated to the nationality and regionality of art, focusing on "French painting" or "Paris school" with ethnic and regional characteristics.
On the one hand, he fiercely criticized the cosmopolitan characteristics of the contemporary art under the United States. He believed that the "contemporary art museums" around the world exhibited almost the same kind of people and the same kind of things.
These arts without subject matter, meaning, and “cleaning and cleansing” any human element are just “acknowledgement of emptyness by means of space”. This is no longer a “decision” of art, but a “dramatic collapse”.
On the other hand, he contrasted the idiosyncrasies of Italian Renaissance artists with contemporary artists and pointed out that each person carries the mark of the scenery and light of their native country. In his opinion, painting should be a piece of land, a certain kind of light, a manifestation of a certain region, and the artist is the son of a piece of land.
Claire’s insights are thought-provoking. Back to the topic of this article, it is how to reflect the characteristics of Chinese national art in modern design. Applying Claire’s view that the Chinese designer should be the son of China’s land, the design should be marked with indigenous traditional art.
Regarding this issue, people in the circle are highly opinionated. In my author's artistic practice and teaching career, I also deeply feel that grasping and upholding the nationality of art in the process of the influence of today’s “globalization” or “globalization” In particular, the nationality of modern design is particularly important in combining tradition with modernity. Adhere to the nationality of modern design, to a large extent, is the respect and reference of folk art.
Speaking of folk art, many people may dismiss it. This is because Chinese art and culture are basically literary traditions, and folk art traditions are in an implicit form. Therefore, folk art has always been out of the mainstream. The arts attaches great importance. The second reason is that people nowadays think that “it” is too big, too distant, and too low-lying, and the popular taste nowadays is something that is foreign, fashionable, and bright and white. It can be said that folk art is quietly hiding under the ground of the orthodox or mainstream art, but who can say that the Minghe river flowing above the ground will not be nourished and favored by it.
Undoubtedly, no matter the Chinese or foreign, mainstream culture or art has been nourished by upholding folk culture or art. The Austrian painter Klimt, known as "the greatest innovator in modern art history", benefited from Chinese folk art. In his works, he not only directly adopted Chinese folk pictures and pottery. Embroidery patterns and patterns are used to decorate and enhance the atmosphere. But also boldly borrowed from Chinese folk art performance skills.
Great artists such as Matisse and Picasso also consciously used some of the expressions of oriental folk art in their own works. In May 1995, he exhibited the work of Xi Pan] artist Mirow in Shanghai. From this, we can obviously feel the influence of Oriental folk arts; especially the later works of Miro, whether it is composition, concept or color The collocations are similar to the lace and tapestries of some ethnic groups in China. Milo's "Blood Sun," created in 1948, smeared with black on his olive green background. The red, yellow, and red suns on the right side have similar bird symbols in the Chinese sun. The middle of the screen is a sign resembling Chinese hieroglyphs with thick ink. It is scattered around with red and black colors. Concentric circles.
Throughout the entire picture, there are striking similarities with the expression techniques of Chinese folk art.