On the paper of culture

Since entering the 2nd/kloc-0th century, globalization has become a common trend in many fields, not only in science and technology, economy, but also in culture and art. When people of different colors and languages are using identical PCs or Macs, when people of different regions and races are enjoying McDonald's and Coca-Cola, when we step out of the quadrangle where we have lived for generations and live in cement houses … can we feel that national culture and traditions are gradually disappearing? Can we feel that our mother tongue is losing its voice? Facing the surge of internationalization and standardization, what kind of cultural demands will modern design put forward?

1 The disappearance of "mother tongue" in design

The original meaning of the mother tongue refers to "the first language, which is one or more languages that a person first contacts, learns and masters", usually extended to the original or content, and refers to the traditional cultural significance of the nation and the region. Design "mother tongue" refers to the content and code of traditional culture and national culture in design. Entering the 2 1 century, we must realize that the so-called "globalization" is actually a trend of "global westernization", which has undeniably caused great harm to multiculturalism and regional culture. In the field of design, it is to eliminate the cultural orientation in design and take a single aesthetic principle and way of thinking as the design criterion. China's modern design is far from forming its own independent style. After experiencing the invasion of "Western Tide", "Oriental Wind" and "Korean Wave", I found that my design language has always been imported, and my "mother tongue" gradually disappeared in repeated imitations.

2 Where is the "mother tongue" of the design?

For the exploration of "mother tongue", we always recall the scene and environment when learning English. Similarly, the design of "mother tongue" is also contained in the traditional culture of the nation. If we try to turn over the cultural history of China, we will rejoice in the glory of Chinese civilization, but we will also feel dejected at today's state. China traditional culture is a culture with eternal vitality created by the Chinese nation on the ancient land of China, showing a long history and profound charm. As far as the cultural content involved in design is concerned, it mainly includes three aspects: macro-thought, meso-method and micro-element.

2. 1 Macro Thought-China's Traditional Philosophy

In the traditional culture of China, the philosophical culture represented by Confucianism, Buddhism and Taoism is the rational accumulation and internal embodiment of the wisdom of the Chinese nation. Although their beliefs and positions are different, they influence the philosophical psychology and thinking mode of the Chinese nation from different aspects. In the long historical process, the three are not completely tripartite confrontation, but complement each other, penetrate each other, blend with each other and eclectic, thus forming the traditional philosophical level of "three religions in one". Among them, the most essential philosophical concept is the harmonious view of "harmony between man and nature". "Harmony between man and nature" refers to a way of thinking that regards the development and change of everything in the universe, life or nature and human society as an interrelated, harmonious and balanced orderly movement. As Qian Mu, a master of Chinese studies, said: "In China culture, the concept of' harmony between man and nature' is the destination of China's traditional cultural thought." Therefore, harmony is also regarded as the highest criterion of all things in the world in traditional philosophy and culture.

2.2 the middle method-China's traditional skill level.

China's traditional thought of "valuing Taoism over martial arts" is very obvious, which has greatly influenced the development of China's traditional skills. The ancient sages even held a derogatory attitude towards the "skills of all kinds of work" such as production skills. For example, the Book of Rites says: "Those who hold skills should attach importance to things", "Don't despise scholars" and "commit adultery and wonder, and suspect people of killing people". Therefore, in the ancient society with Confucianism as its orthodoxy, "attaching importance to government affairs, ignoring nature and rejecting skills" became a traditional concept, which also made China folk craftsmen, mechanics, civil engineers and other craftsmen despised.

2.3 Microscopic elements-the level of Chinese traditional musical instruments

After thousands of years of development, Chinese civilization has formed a unique style. From the beam structure of traditional architecture to the mortise and tenon structure of furniture, from the patterns in stone carving and wood carving to the patterns on clothing fabrics, all show the similarity of the characteristics of traditional modeling elements in China. For example, furniture is dominated by Ming and Qing dynasties, architecture is dominated by sleeping room style with big roof and beam-column structure, and porcelain is the most prominent vessel. In addition, ceramics, lacquerware, wood carving and stone carving, embroidery, dyeing and weaving, printing and paper-cutting in traditional crafts provide us with rich cultural materials and reference content. The "cultural symbols" formed from calligraphy, painting and other artistic fields also show special cultural connotations in practical design and application, and are widely used in appliance design, which also provides rich "first-hand resources" for element lending, symbol exchange and cross-utilization.

3 design "mother tongue" reproduction

Judging from the history of China's cultural development, we have a rich design "mother tongue", but in modern times, we have not been able to use and convey it reasonably. On the contrary, the western world has repeatedly absorbed "nutrients" from China's traditional culture, forming a unique westernized "China Fashion".

"Tradition" is not an external thing, or even an externalized or objectified thing, but an objective entity that has no flesh-and-blood relationship with us. Tradition permeates individuals and groups directly or indirectly, positively or negatively, and influences and shapes the potential energy of our beliefs, life attitudes and behavior norms. From the perspective of design culture, facing up to tradition, understanding tradition and carrying forward tradition are the key points for modern design to form national style. In order to make the traditional culture "mother tongue" reproduce its cultural connotation and spiritual essence in modern design, the author thinks that it should be carried out from the following points: First, take the national spirit as the main theme and pay equal attention to form and spirit. "National Spirit" is the communication medium between nation and design form, and it is like a mirror of national spirit, which is the soul of national design. The simple phrase "Made in China" represents not only the quality of a product, but also the evaluation and judgment of the design level and culture of a nation and a country. In order to reproduce the "mother tongue" of China's traditional design, we must re-understand the spirit of the Chinese nation and make a new interpretation in the design. Conceiving a new "shape" only by the reorganization and integration of the original elements, symbols and patterns will only become a mere formality. On the basis of truly understanding the national symbols, we should integrate them and inject new ideas to make the expression more vivid, that is, "truth and sincerity". Secondly, take traditional culture as the source and eclectic.

The continuation of China's 5,000-year-old national culture gave birth to the gentle and elegant "China Style", which was admired by the western world, but despised by his descendants for nearly a hundred years, and it is worth our deep thinking. The philosophical thoughts, creative laws, aesthetic concepts and countless classic examples contained in traditional culture provide rich resources for today's design to a certain extent, but we have failed to make full use of them. Of course, what we have to do is to learn from the past, but it is not "retro" or "muddy". China culture has been eclectic since ancient times, which makes China culture continue to this day, without interruption or extinction.

4 conclusion

Today, with the tide of globalization sweeping the globe, our traditional culture gradually loses confidence under the impact of western strong culture, and the design of "mother tongue" is on the verge of disappearing. Therefore, in order to develop Chinese style design, we must start from the future development prospect, absorb the excellent elements of foreign culture, comprehensively transform traditional culture, get rid of stale and rough dross, and explore new life forms of traditional culture. At the same time, the formation of national style system must be based on the historical tradition of the nation itself. Only in this way can we create excellent works that are in line with the trend of the world and the national conditions, contain both tradition and the spirit of the times, and show the style of China.

Artist He Huaishuo once said: "I think the real world art was never born in a poor and decadent place of national art, but must have been born in a prosperous and powerful soil of national art." This view is also true when it is used in the modernization of national design.

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