On the Influence of Yi Culture on Modern Art Design (4)

● Yixue culture pushes artistic creation and modern design to the top dolcn.com

The Chinese artists and designers who are deeply influenced by the Yi-ology and culture, their works are consciously and unconsciously, intentionally and unintentionally, and they are marked with the brand name of Yi-ology, embodying the profound connotation of the Chinese culture. Not only the Taiji maps and the design works of Bagua, Hetu, and Luoshu are unique to the Chinese nation's culture, it is the art of Chinese painting and calligraphy, nor is it easy for outsiders to try and master. There are many bronze wares that we have unearthed today. Their cultural decorations and pure color are all products of Yi Culture. China's folk art is deeply influenced by the Yi Culture. Paper-cutting, New Year pictures, batik, embroidery, sculpture, ceramics, and paintings, as well as the most admirable Chinese classical architectural decoration, are without exception.

Many of our design works today are also deeply influenced by the culture of Yi Culture. Hong Kong design masters are reluctant and domestic famous artists and sculptor Han Meilin. They are all very famous people in the world. In many of their works, almost every one has the shadow of Yi Culture. Even the bronze decorative symbols, Tai Chi maps, and gossip, river maps, and Luoshu books all became their design symbols either directly or indirectly. There is also the world famous architect Pei Ming Ming. Xiangshan Hotel, which he designed for Beijing in the 1980s, although it is rarely mentioned, it is a modern design work influenced by the culture of Yi-ology. From layout to detail processing, the designer is almost constantly and repeatedly using the number of symbols and symbols of learning to strengthen the connotation of the national culture and art of the building itself.

Here are two examples that we have mentioned earlier to illustrate how the Yi Culture influences artists and designers subtly.

In June 2001, the first "International Exhibition of Art and Science Works and Academic Seminar" was held in Beijing. It is said that this "International Exhibition of Art and Science Works and Academic Seminar" is to answer questions in the form of practical creation and theoretical exploration. Two world-renowned scholars' thoughts on "art and science all share the same goal". The famous scientist Li Zhengdao said: "Science and art are two sides of a coin." Famous artist Wu Guanzhong said: "Science reveals the mysteries of the universe and art reveals the mysteries of emotions." Although two scholars are living in different fields of creation, their The ideological expressions invariably point to a theme: the ultimate realm of human existence and existence—the fusion of art and science. This "integration theory" itself carries the imprint of Yi Yi culture.

In the exhibition of works, the most striking is the two scholars' own works. One is the sculpture of the physicist Li Zhengdao who is on the other side of the ocean - "The Way of Things", which shows the movement form of the microscopic world of the material structure; the other is the sculpture of the artist Wu Guanzhong who lived in China for a long time - "The Desire of Life" It shows the existence of the microcosmic world of life structure. The two sculptures reflect two worlds in the field of science. One is the scene of the material movement revealed by the collision between the positive and negative electron colliders; the other is the path of the existence of life revealed by the protein gene structure. These two fields are ours. Humans have so far explored the highest realm of the unknown.

“The Way of Things” embodies the wisdom and romance that Li Zhengdao has in the field of his own research, and his philosophical understanding of the material existence. Li Zhengdao inscribed this explanation for his sculpture: “The Taoist creatures, the creatures gave birth to the Tao, the Taoism was the journey of the thing, the thing was the Tao of the Tao, and the art of the heavens and the earth.” and further elaborated that the world was charged. Particles. Through their interactions, atoms, molecules, gases, solids, earth and planets are formed. This dual structure of negative charge and positive charge, called "yin" and "yang", can be properly represented by a Tai Chi diagram. "The Tao of Things" uses sculpture language to place the highest realm of the scientific exploration of the material structure into the Yi culture. According to the basic form of the Taiji diagram, it evolves a philosophical artistic structure and language through the purity of the artistic language. And form, so that the highest aesthetic realm and philosophical realm of scientific connotation to be expressed in material sculpture can be visualized. In the sculptural form, “The Way of Things” refers to the linguistic form of the pottery art in the ancient times and the way in which the objects are expressed, and uses the rich connotations and expressiveness of the changes in the point, line, and surface movements of the Chinese traditional art form, in the Chinese tradition. The simple, concise, and continuous nature of the line, which is a typical form of plastic arts, and the visual effects of endless spiral movements, express the scientific and technical characteristics of the solenoid coil of the positive and negative electron colliders. A highly varied helix was repeatedly generated in philosophical terms and pushed to the maximum number of nine spirals in the concept of logarithms. Nine spirals were arranged in a rotary motion. One end of the nine lines converges extremely, meaning pointing to Tai Chi; the other end diverges into space, which means pointing to the pole. Between black and white, it is like nine rising dragons. In the Tai Chi and Promise world, "Red, yellow, green, blue, purple, and blue, who are holding the training to dance in the air?"

Based on his profound understanding of the Yi culture and the philosophy of Lao and Zhuang, Li Zhengdao exhausted the point, line, and surface composition to make it full of color, materials, and technology, making the Yi-Culture culture extremely welcoming in The Tao of Things. .
"Life's Desire" embodies Wu Guanzhong's profound humanistic cultivation and abundant artistic passion in the art field he explores, as well as the keenness of the abstract summary of truth, goodness and beauty. Wu Guanzhong finds the perfect artistic language in the protein genes discovered by scientists to express the forms of life that we have never seen before. In addition to its physical form, life has a spiritual and emotional form. Wu Guanzhong firmly grasps the nature of life themes and the morphological and structural characteristics of protein genes, and according to Chinese philosophical thoughts, the realm of life understanding, the Chinese national art. The form of expression of philosophical thoughts - the excitement in silence, the silence in excitement, all spilled over in "The Desire of Life". This is the Yi-styled cultural conception of "poor elements are wonderful in meaning, and God is changed in secret". Dolcn.com

The Yi-Culture culture is a deep-seated experience of life through Taoism, while the Chinese nation art is an interpretation of life through Taoism. The wildly dancing, turning, and undulating lines show the rhythm, rhythm, and order of life. The expressiveness of the line includes both the "dance" of mad grass and the "beauty" of the melody, making life full of boundless vitality between heaven and earth. In order to strengthen the tension of life and the color performance of music, the spatial changes of the lines are more romantic. Wu Guanzhong takes the traditional colors of Chinese national folk: pink green, pink, pale yellow, and silver gray as the color tones of the main colors. And with the red and black lines running through the bright colors of this spring of life. It produces psychological implications and aesthetic associations: life comes from Tai Chi and returns to Tai Chi. Without the death of an individual, there is no life. Thus, the ultimate state of human development, growth, and return has all been presented to us. Wu Guanzhong, with abundant emotions and the poet's romance, puts a final touch on "The Desire of Life": "It's like dancing, madder; it's the real structure of protein genes. Science starts in the microscopic world to reveal the beginning of life, and art is inspired and created." The spring is gorgeous. The United States gestates in the desire of life, life is boundless, and the beauty is infinite." This is again an understanding of the Yi-culture.

These are two scholars who have different experiences in life and are working in different fields—infinite and limited space of science and art. They use a common way of thinking—the philosophical thoughts of Yi’s culture. A common science and artistic brushwork creates a fusion of art and science.