Globalization of Modern Art Design (3)

● Globalization should lead to extremely advanced development of ethnic culture and arts

Corresponding to globalization, many domestic experts and scholars have proposed nationalization and regionalization in order to compete with globalization or coexist. This is self-evident. However, in the ever-changing information society, in the era of rapid development of science and technology, culture and art, under the background of deepening globalization, nationalization and regionalization must be redefined. This is in accordance with Marxist dialectical materialism and historical materialism, and is in keeping with Comrade Mao Zedong's principle of seeking truth from facts. This is China’s own thing. Comrade Mao Zedong once said that the Chinese must first of all manage China’s own affairs well. Chinese contemporary artists and designers should have such a sense of historical responsibility and mission.

From the perspective of the development of China’s 5,000-year history of civilization, the Chinese nation and all ethnic groups in China are at different stages of history and are making due contributions to the development and enrichment of the Chinese nation’s culture and art. Many ethnic minority artists, while making painstaking efforts to develop their own culture and art, also enrich and promote the development of the entire Chinese culture and art. The above-mentioned tenth Panchen Lama, Nima Zeren, is one of the millions of ethnic minority artists who have made outstanding contributions. Nima Zeren believes that his paintings grew from the carrier of his own culture, and each image and every symbol is tainted with a sense of history. He said: For Tibetans, nature is sacred, and people are only part of the natural world. No matter how great the creation, nature can destroy it instantaneously. Human beings rely on the strength of the spirit to live in harmony with nature. To display stubborn vitality in a harsh natural environment is the spirit of the Tibetan nation. It is this spirit that runs through the entire history of Tibetan history, culture and art. Some people call Nima Zeren's paintings in the new period "new" Thangka. Nima Zeren believes that Thangka exists as a religious vassal and is not an independent artwork. Thangka, a religious offering, has been injected with more commercialized content today. Nima Zeren believes that most of the Thangkas use the Buddha as their content and cannot convey the cultural information of the new era. Therefore, in his paintings, he retained the characteristics of vivid colors, exaggerated shapes, and overtime in Tibetan paintings. He blended the lines of Chinese painting with the three-dimensional modeling methods of Western art and opened the distance between traditional paintings and traditional Thangka paintings. . The tenth Panchen Lama gave him encouragement and said to him, "You understand both Buddhist culture and Chinese culture and Western culture. You should combine the three to carry forward the Everbright Tibetan culture." And he was allowed to use the Tenth Panchen artist "The title.

Nima Zeren held personal exhibitions in the three major cities of Boston, Los Angeles, and Washington in 1993; he held personal exhibitions in London, Manchester, Liverpool, Cornwall and Uster in 1994; New Delhi, India in 1995. The Museum of Modern Art, Hohenfelssen Palace in Vienna, Austria; the United Nations Palais des Nations in Geneva, Switzerland; Zurich, Switzerland; and the National Museum of Anthropology in Madrid, Spain, etc., held personal exhibitions; 1996 in Hong Kong Chinese Culture City Exhibition Hall, USA, Los Angeles, USA The municipal government and the National Art Museum of China held a personal exhibition; in 1997, they held personal painting exhibitions at the Pierre Cardin Art Museum in Paris, France; in 1999, they held personal painting exhibitions in the Beijing National Committee of the Chinese People's Political Consultative Conference and the Museum of the Louisiana State University; and they were also in Japan and Singapore. Taiwan and Algeria participated in the exhibition of art works. Nima Zeren's achievement is the success of the new form of Tibet theme painting combined with the combination of realism and romanticism. It can also be said to be a great victory in the globalization process, the nationalization of culture and art, and regional exploration. Hezis, a Swiss Tibetan scholar and art history theorist, gave a high opinion of Nima Zeren's artistic exploration. He believes that Nima Zeren's works “given the invisible spiritual world with life form and natural style”. .

Nima Zeren’s exploration should give us today’s artists and designers a profound revelation: how should artists explore nationalization and regionality according to the new situation in the shadow of globalization; how can national culture and art become Integrate world culture and art as an important force. Many historical experiences are worth our careful consideration. In the long history of 5,000 years, the Chinese nation has never preached the "chemical" world, "mutualized" others, but flourished in the territory of the Qin and Han Dynasties; developed in the Tang and Song Dynasties; in the economic development of the Ming and Qing Dynasties, the Chinese national culture and Art, still broadcasting Eurasian, even affects the American continent. Why is that? This is the charm of Chinese culture and art. This charm comes from the indomitable creation of the Chinese nation. In the process of developing and creating the culture and art of the Chinese nation, all ethnic groups in China have made arduous efforts. It is not only the Han nationality, the Tibetan nationality, but also other ethnic groups. The Northern Wei Dynasty during the Northern and Southern Dynasties was established by the Tuoba clan of Xianbei. Before and after 148 years ago, it made important contributions in the process of the unification of the Middle Ages in China. For the long-term stability of the regime, Northern Wei studies sinology, offers Confucius, and promotes the marriage between Hu and Han. In the middle of the Northern Wei Dynasty, Queen Mother Feng and Xiaowen actively pursued a series of national integration reform policies. Xiaowen again moved the capital from Datong to Luoyang, changed it to Yuanyuan, spoke Chinese, learned Chinese customs, and dressed Han. These reforms have made Xianbei's excellent culture and arts absorbed by the Han culture and arts of the Central Plains. In particular, the experiences and techniques of the Xianbei animal husbandry production have been disseminated in the northern Han Chinese and have exerted a certain influence on the economic life of the North. Xiaobo Li Shi’s “Li Bo Xiaomei” describes Li Bo’s “The dress is like a roll and the left shot is a double shot”. This shows the Chinese people’s life in both costume and style. The influence of the Xianbei culture. During the Southern and Northern Dynasties, Yan Zhitui, an official of both the Southern and Northern Dynasties, was compared with the Northern and Southern languages ​​and considered that "Southern Wuyin and Northern Miscellaneous Yisui" also showed that the Northern Chinese absorbed some elements of the Xianbei language. The cultural and artistic achievements of the Northern Wei reforms can still be seen today in the art of grottoes in Datong Yungang and Longmen in Luoyang. It can give us some positive inspiration for today’s globalization.

The profound and profound Chinese culture can be said to be the result of long-term enrichment. This kind of eclecticism can actually be said to be the integration process of cultures and arts of various nationalities in China. He not only shows the fusion of culture and art between Chinese peoples, but also shows the absorption and fusion of foreign cultures and arts. . The communication between China and Europe and Asia on the ancient Silk Road has enabled the Chinese nation's culture to maintain close contact with the countries of the Western Regions for thousands of years. This kind of communication is not only economic but also contains cultural and artistic content. Zheng He went to the Western Ocean seven times, not only broadcasting the Chinese culture to the Pacific, the Indian Ocean and Asia and Africa, but also absorbing the world's culture and art into China.

The works of famous artist and designer Han Meilin have achieved great success at home and abroad. He believes that if art is to be truly successful, it must have "root." This root is the root of the Chinese nation. The rooted art can flourish and grow stronger. The art without roots is only a leaf of duckweed and a flower that can not withstand the time of carving. The root of art is rooted in the colorful life and is rooted in the outstanding national culture of our nation for thousands of years. Therefore, life and nationality are two indispensable and necessary factors for artistic creation. Han Meilin also talked about a breathable saying: “I love ethnic and folk art. I can't leave this 'root' in my life. It's the mother of every Chinese earth artist. When we grow up, we have to be Stand, walk on your own, and raise yourself. In the face of difficulties or in the face of victory, don't forget to look back and look at the mother who gave you this life. Don't keep your milk forever, but don't follow someone's family name." Barely is a very successful designer in Hong Kong. He believes that a good designer should not only master the modern design language, but also have the ability to analyze the market, have a keen sense of the market, market positioning for the product, so as to create Outstanding brand image. At the same time, he also advocated the integration of the essence of Chinese traditional culture into the concept of Western modern design. He emphasized that this integration is not simply a summation but a fusion of profound understanding of Chinese culture.

Therefore, to cite some of the above examples, it is to illustrate a problem. As the pace of globalization is accelerating faster, the political, economic, and cultural exchanges between countries in the world are getting faster and faster. In this situation, we should Keep a clear-headed mind, and obtain something that can be used for reference from the ancients to cope with the complicated and changing situation in the shadow of globalization. However, there is one point that must be made clear and certain. That is, if the Chinese national culture and art cannot be inherited and developed in the process of globalization, it is our failure. This failure is not only a question of our generation, but it may be that this generation may be the scum of eating the ancestral meal and creating children and grandchildren. As an individual Chinese, you can immigrate to the United States, you can be Americanized, and even you can become an American-American and stand on the US stand to examine your own country. But as a whole, the Chinese nation cannot immigrate to the United States. It cannot stand on the US stand to see the world. It must and can only develop and create the Chinese nation’s culture and art on this piece of land. The culture and arts of the Chinese nation contribute to the world and human civilization with the power that they should contribute.

(to be continued)