First of all, we should know that jewelry is a natural thing with aura, and it becomes a work of art after being processed by people. It has been rare and precious since ancient times. From the personal accessories of ancient princes and nobles to the bright gems displayed in major jewelry stores today, it always attracts people's attention. With the continuous improvement of people's knowledge level and social progress, simple jewelry can no longer satisfy the emotional sustenance of more and more people, so it has been influenced by culture and started to show on the other side.
Looking closely at the jewelry styles in major exhibitions, it is not difficult to find that there are not only design elements, such as ancient beasts, Buddha statues, Guanyin and other typical China cultural styles, but also pure European and American styles and Chinese and Western styles.
the original
society
the Tang Dynasty
the Ming Dynasty
/kloc-Yuanmou people in Yunnan 0/.7 million years ago, Lantian people in Shaanxi 800,000 years ago, Beijingers in Zhoukoudian 500,000 years ago,/kloc-cavemen who lived in Zhoukoudian 0/.7 million years ago made stones, seashells and animal bones into ornaments and even dyed them red for beautification.
The evolution of decorative styles of gold and silver wares in Tang Dynasty can be divided into three different periods: early, middle and late. In the early days, honeysuckle patterns were widely used, with neat and meticulous practices, stylized patterns and decorative features. In the middle period, flowers and birds were the center, with flourishing branches and rich styles, which reflected the beauty and fullness in the prosperous Tang Dynasty. In the later period, it is mostly a single flower branch or animal, and it often adopts symmetrical format and realistic style.
The Ming Dynasty not only inherited and developed the types and modeling characteristics of palace jewelry, but also greatly developed folk jewelry closely related to the life of secular people. Different from the exquisite and rigorous palace crafts, folk jewelry shows a free and healthy mental outlook and a rich flavor of life, and pursues the psychology of seeking goodness and truth, beauty and blessing.
Development history of Chinese jewelry
Aesthetic differences between China and the West
1) "Harmony is Beauty" —— Proof of dialectical and harmonious literary view
2) "Taking intention as the source"-advocating the initiative of aesthetic subject.
3) "Form is righteousness"-the physical state of natural beauty.
4) "Thinking is the most important"-the philosophical significance of pursuing idealism.
1) "Taking the environment as the highest"-highlighting the initiative of the aesthetic subject.
2) "Taking meaning as spring"-pay attention to the dominant position of the theme.
3) "Form is the most important"-emphasizing the objective accuracy of everything.
4) "truth-oriented"-seeking a philosophical understanding of materialism.
China aesthetics
Western aesthetics
It is very difficult and sometimes far-fetched to clearly point out the difference between modern European jewelry design and oriental design. With the development of modern information, modern transportation and the opening of society, the differences between the two mainstream cultures of the East and the West have influenced and infiltrated each other, and the distance is narrowing, but they still have their own characteristics.
I think there are essential differences between Chinese and western aesthetic consciousness. This difference stems from the differences in culture, religion, philosophy and national customs between China and the West, as well as the different understanding of art, and the reason lies in the differences in aesthetics between China and the West.
China's jewelry culture has not broken through for a long time. One of the reasons can be understood as China people's reverence for their ancestors, and the system established by predecessors cannot be easily changed. This is essentially different from the idea that westerners always try their best to deny their predecessors, so he constantly strives for innovation, change and difference, trying to overthrow their theories with newer things, which is obvious in the development of modern western science and technology. China's traditional ideas always affirm predecessors and deny future generations. No matter what you do, you should see if there is any precedent. Therefore, it is difficult for China's jewelry to make some drastic changes. Therefore, ordinary changes like those in the West are unacceptable from the national character of China. The nationality of China people determines the aesthetics of China people, which is the pursuit of eternal stability. Generally speaking, China's jewelry does not attach importance to form, and its connotation is the traditional Confucian culture in China. This inner culture makes China's jewelry have a strong harmonious spirit, which is hard to be alienated. Its aesthetic style has a strong inner spirit, so it has a strong maintenance force.
A big difference between the present situation of jewelry design in China and other advanced countries is that our understanding of jewelry design is limited to style design, which is a limited change of existing products, resulting in complicated and disgraceful products on the market, which can not fundamentally change the products, but lacks understanding of formal design and conceptual design. Modern design has never been the traditional understanding of technology plus painting, technology plus art. The meaning of modern jewelry design is deeper and wider, which is aesthetic in nature and covers the comprehensive and creative design activities of social aesthetic culture. In terms of people's appearance characteristics, westerners have more three-dimensional external characteristics than China people. Westerners draw sketches and oil paintings, paying attention to the sense of volume and light and shadow, which are three-dimensional; China people draw line drawings and traditional Chinese paintings, paying attention to spiritual connotation and lines, which are flat. What is shown in jewelry is that westerners pay more attention to three-dimensional thinking, products are more three-dimensional and pay attention to structural surprises.