To treat tradition, we should take its essence, discard its dross, criticize and inherit, and bring forth the new.
to treat other national cultures or world cultures, we should learn from others. At the same time, we must persist in taking me as the mainstay and using it for me.
the slogan "what belongs to the nation belongs to the world" is really loud at present. It is true that we can't abandon the joy of national tradition in today's recovery and get more and more attention. However, who will think about the deeper meaning and carefully touch all aspects of this statement? ! First of all, what does "national" mean? National patterns? National sculpture? The national language? Or ethnic origin?
We are used to calling ourselves "the Chinese nation" and our country "China". However, the historical and cultural heritage of our country has lasted for 5, years. Is the essence just those patterns and silks? ! If one thing is used as a pattern, is it just the relationship between A and B between the hideousness of the 2S pattern of bronze in Shang Dynasty and the peace of tile in Han Dynasty, and is it just a label for distinguishing Shang Dynasty from Han Dynasty? When I saw A, I knew it was Shang Dynasty, oh, China; When I saw B, I knew it was the Han Dynasty. Oh, China. Doesn't that mean that the word "fashion" includes the word "China style" in the future, and the word "China style" includes "Shang Dynasty style" and "Han Dynasty style"? ! After all, the patterns are different! Perhaps two patterns can be combined with a pair of jeans at the same time to achieve a "strong collision between Chinese and western cultures" effect (really shocking).
isn't there any internal connection between Shang and Han? ! Is China's 5,-year-old culture just a pile of different symbols? If everything in the universe has an ontology, these traditional symbols of China also have the same origin. That is the spirit, the spirit of a nation. The spirit of this nation is the noumenon power of these symbols, and these symbols are only the embodiment of its various forms and superficial phenomena.
Lao Tzu said, "Tao gives birth to one, life to two, life to three, and life to all things."
Zhuangzi said, "Tao is one."
Only the formation of spirit can drive human's conscious behavior and form culture. Culture is only the space-time relationship of spiritual materialization accumulation; And every nation has its own unique spirit, just as everyone has their own personality and hobbies. Therefore, this "national" refers not only to those historical relics and pattern symbols, but also to a nation's culture, and a deeper level refers to the unique spirit of this nation. Because of its particularity, it is unrepeatable, that is, unique. Coupled with the profoundness of China's traditional culture, it is well-deserved to be "cosmopolitan". Here, "cosmopolitan" means the different splendid cultures of all ethnic groups in the world, and the deeper level is their spirit. But in today's China design, I can't see the "China spirit", I can only see the corpse of the spirit being dismembered, hung and displayed. Just like a hand loses its meaning when it leaves the body.
However, I am deeply worried that this slogan has been roared so loudly by the design community today.
"national" is of course "world-wide", but it has given birth to many designers selling their own national symbols. Sticking a pattern in the east, spelling an embroidery in the west, and even using Thangka, Guangdong embroidery and tattered jeans together, just for the pursuit of a visual effect, and also sending out a heinous feeling of "making the East and West cultures collide extremely".
So the advantage of "national" uniqueness is reflected at this moment, because Chinese and western cultures are inevitably two cultures with great differences, and westerners are still interested in the gorgeous culture of the East, so an ordinary jeans becomes novel after being pasted with an embroidered piece, because the embroidered piece itself has a mysterious and traditional concept, so westerners feel curious, even if it really looks good, it is also the credit of the embroidered piece.
Maybe ten designers will put the same piece of embroidery in ten different positions of the same pair of trousers, but foreigners will still be interested in any one of them.
They laughed, so some of us said that "national" is good, which accelerated the process of internationalization and opened the door to internationalization.
this is a very dangerous point of view.
Because the purpose of this view is "internationalization". I'm not trying to stop China's culture from flying around the world, but if it's for this purpose, it's bound to please others, so designers won't think from the standpoint of their own nation. It will be made and positioned according to the preferences and tastes of "international". They say good is good, but how do you know that what they don't say is not good, and what they say is really good? Even if the elements you use are "oriental", you also use "western" thinking, which is what westerners think of as the east, and the most dangerous thing is that you also think that the east in the eyes of westerners is the real east! The final result can only be to make one's own culture gradually disappear, and become a historical relic of the old embroidery attached to a pair of rotten jeans.
Why do China people feel so insecure? Is it really like Sartre's (Orientalism) opening statement: "Orientals can't speak for themselves, only westerners can speak for them."
Can China's culture only develop by this compromise? ! What if one day foreigners are no longer interested in embroidery? ! Are we no longer "international"? !
design is the same as language. In modern language, profound Buddhist thoughts can be expressed, and in classical Chinese, Kant's philosophy can also be described. The existence of a spirit lies not in what language it is expressed in, but in the spirit itself. Therefore, this misunderstanding of "internationalization" can only lead to Kant's philosophy in classical Chinese, which is not beneficial to the development of China culture for a long time.
however, isn't "national" "world"? !
We just need to think about this problem from another angle.
since all the nationalities belong to the world, we only need to consider how to further develop the nationalities. However, the development of national culture can neither be divorced from the current international environment, nor lose the foundation of the nation, nor go against the torrent of history. That is to say, we should put the emphasis back on our own culture. This kind of attention is real attention, which can be said to be a kind of love. Only when we know it deeply can we love it, which is not commercial love, but a kind of in-depth care. He will know the ins and outs of China culture as carefully and sincerely as he knows his confidant and lover. Only in this way can we be willing to contribute our most sincere strength to its development. Only in this way can we become the backbone of China culture and contribute to the development of national culture.
If we really want to pay attention to our own culture, it is necessary to break the apotheosis of "internationalization". We should believe that we can do better. "Internationalization" is of course important, but it is even more important that the national cultural spirit is immortal. Only when the national culture is immortal can it be "internationalized" forever.
that's why we say "what is national belongs to the world".
to grasp the "national", we must first understand its history. Eastern culture and western culture are fundamentally different: one emphasizes the peace and harmony between man and nature, while the other emphasizes the pleasure of conquest; One pays attention to the experience with heart, and the other pays attention to the experiment of pulling away.
when the westerners' strong ships and powerful guns made the world a mess, their thinking consciousness became the "mainstream consciousness". As far as design is concerned, western aesthetics has become the mainstream aesthetics. He used the word "element" to combine the cultures of all ethnic groups, which was very overbearing and self-centered. Because elements must depend on certain structure to be combined into concrete forms of matter, and the word "China element" used in a dress is bound to indicate its main structure and thinking mode or the western thinking mode, while the culture with a long history in China is just an element. If it is not this model, diamonds are still diamonds, but coal is still coal.
If we insist on the relationship between structure and elements, why don't we China designers wear those "gradually fascinating eyes" patterns to get a deeper understanding of China culture and its thinking mode? When we have mastered the spirit and mode of thinking of the Chinese nation again, isn't it the turn for the word "western elements" to appear in the magazine? What would China designers think if they saw that western designers were also very happy about the word "western elements"?
I am convinced that that day will come, just as I am convinced that "what is national is the world's". Finally, I want to end with two sentences: "The revolution has not yet succeeded, and comrades still need to work hard."