We hope that such lighting design works more. Here I refine my understanding of Chinese culture for your reference.
First, the basic spirit of Chinese culture
The basic spirit of culture is the most intrinsic motivation and ideological foundation of all cultural phenomena, and is the basic idea and basic concept of maintaining and promoting the cultural development of a particular nation or region. The basic spirit of Chinese culture is the basic ideas and basic concepts accepted and believed by the overwhelming majority of the Chinese nation, and it is used as its own life belief and conscious value pursuit.
The basic spirit of Chinese culture is as follows:
Heaven and man
On the issue of the relationship between man and nature, Chinese culture pays more attention to the harmonious unity between man and nature. The proposition of "Heaven and Man are one" is the precise expression of this cultural spirit. The content of this proposition refers to the law of unity between man and nature, affirming the unity of nature and spirit, and paying attention to the coordination of human behavior and nature. Today, this concept has important enlightening significance for solving the environmental problems brought about by the industrialization of today's world and the unrestricted conquest of nature.
The "day" of "Heaven and Man" includes the sky above us, but not just it. From a more abstract perspective, "day" refers to an objective environment that is not transferred by the will of individuals, organizations, and human beings.
In our lighting and lighting design practice, it is not uncommon for people who are incompatible with the environment, or even obvious and rude to destroy the environment, such as serious light pollution problems. I believe that lighting designers should understand, digest and practice the cultural spirit of "Heaven and Man". Only in this way can they ensure that their design behaviors and works "do not commit anger" (not angerous environment), only when our The soul is purified and the work will be purified.
2. People-oriented
Humanism or humanism has always been regarded as a major feature of Chinese culture and an important part of the basic spirit of Chinese culture. The specific connotation means that between heaven and earth, people are the center, between people and God, and people are the center. This is a concentrated expression of Chinese culture beyond religious emotions and functions. In Chinese culture, God has never occupied a dominant position.
This cultural spirit has practical guiding significance for lighting design. One of the reasons why some of our landscapes and building lighting are unpopular is simply to copy or copy the design techniques of successful Western works and cases. Lighting and lighting design is a cultural activity and a cultural phenomenon. The designer's work is an explicit expression of its inner value system. One of the cultural differences between China and the West is that Western culture is rich in religious emotions, but Chinese culture is not. This has formed a completely different aesthetic standard for lighting works from Chinese and Western designers from lighting designers to the public. Therefore, the design methods that are effective and successful in the West are not necessarily applicable in China. In Chinese culture, God has never occupied a dominant position. In short, when lighting design involves cultural issues, copying Western techniques often leads to failure.
3. Your monk
Valuable harmony, still in the middle, as one of the basic spirits of Chinese culture, the impact on Chinese culture is enormous. An important difference between Chinese and Western cultures is that Chinese culture is harmonious and unified, and Western culture is divided and confronted, thus forming a distinctly different cultural tradition.
"Harmony" is not "same". "And" advocates the unity of the diversity of things and the coexistence, tolerance and integration of different things. The so-called "the same path is the same" and "there is tolerance is big" is also. Under this spiritual influence, Chinese traditional culture attaches great importance to the harmony of the universe, the harmony between man and nature, especially the harmony between people;
"Guihe" often brings "Shangzhong", "Shangzhong" is to require people's behavior to abide by the "moderate" way, to "hold the middle", in layman's terms is to make people's behavior try to avoid "over" and "Not as good as" tries to avoid extreme behavior.
This spirit seems to be similar to "Heaven and Man" at first glance, but it is not. "Heaven and Man" deals with the relationship between people and the environment, between the subject and the object; "The noble monk" deals with the relationship between the subject and the subject and between people. The highest norm or realm for dealing with this relationship is “tolerance†and “holdingâ€. When the lighting designer has this cultural spirit from the heart, he can truly and objectively evaluate other designers' works and absorb their essence; they can also correctly understand themselves and make themselves "self-aware." Only in this way can my work be continuously improved and accepted and loved by more people. "Tolerance is a virtue"!
Second, the traditional artistic characteristics under the influence of the basic spirit of Chinese culture
The basic spirit of Chinese culture has been fully demonstrated in the field of ancient art, enabling it to continue to this day. Any work of our lighting designers is judged by this spirit. Therefore, it is necessary to give a brief introduction to the expression of ancient art to the basic spirit of Chinese culture.
1. Painted pottery art
Painted pottery art began 8000 years ago and is the beginning of Chinese art. There are three main areas of Chinese painted pottery: the Central Plains, the Northwest and the southeastern coastal areas; the decorative patterns of painted pottery mainly include: figure patterns (human face, group dance, frog pattern), animal patterns, plant patterns (petal lines, Leaf pattern, tree pattern, grain pattern), geometric pattern (square pattern, net pattern, ripple, triangle pattern, round pattern pattern), the most is geometric pattern.
Chinese painted pottery has two notable features:
First, the transition process of painted pottery patterns from figurative to abstract is synchronized with the evolution of Chinese cultural concepts;
Second, the structural characteristics of the painted pottery pattern are consistent with the basic principles of Chinese aesthetics. From the figurative to abstract process of change, the most representative are the abstraction of fish, the abstraction of birds, the abstraction of flowers, the abstraction of frogs, and the abstraction of human and animal. This process of abstraction is the process of rationalization of art. It is the transformation of the primitive gods in Chinese culture into the emperors of the human world. The myths are historicalized and the emperors and gods are transformed into the universe. God is real, qi is imaginary, and the transformation of God into qi is a real change. This change in the painted pottery pattern is in line with the evolutionary path from the real to the virtual in culture.
As far as the structural characteristics of painted pottery art is concerned, it has implied two basic principles of Chinese traditional aesthetics:
One is scatter perspective. When the painted pottery is round and facing the square, the figurative pattern focuses people's attention on one side, tending to form a focus and a fixed point. After the pattern is transformed into an abstraction, the whole pattern is wandering, facing the four sides, so that the four sides form a one-piece whole that has neither a starting point nor a terminating. The drawing of the painted pottery naturally becomes a scatter perspective, which surrounds people. Painted pottery enjoys the “step by step, face-to-face†appreciation, and realizes an “endless†meaning in the limited round surface of the painted pottery. This is the so-called "tour", which is one of the basic principles of Chinese painting and garden creation later;
The second is "looking on the ground." This means paying attention to the effects of the above when designing and producing the work. This aesthetic principle is the basic principle widely used in later poems, words, paintings and architecture. The so-called "thousand miles" is also.
Such as "Qingming Shanghe Map";
For example, the taste of the Tang Dynasty and the Soviet Union, "Fire Tree Silver Flower, Star Bridge Iron Lock", Song Xin's "Dongfeng Night Flowering Thousand Trees, More Blowing, Stars Like Rain. BMW Carving Cars Full of Roads, Feng Xiaosheng, Yuhu Light Turning "One night fish dragon dance" is a typical expression of this aesthetic.
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