Geographical environment is one of the basic reasons for this difference.

As we all know, western civilization originated in the Aegean Sea and mainly developed in the Mediterranean region, so it can also be called marine civilization. The warm climate in the Mediterranean is very suitable for navigation, so the communication between countries is mainly realized by sea transportation. Constantly going out to sea has gradually formed the extroverted personality of westerners, who are open and active, full of freshness to the outside world, and what is shown in jewelry is Zhang Wu, seeking strong effects. In contrast, the geographical environment of China is much more closed. There is no big island adjacent to the mainland off the east coast, so it is almost impossible to go to sea. The west is almost cut off by Tianshan Mountain, Pamir Plateau and Qinghai-Tibet Plateau. The only way out is the Silk Road, which also needs to cross the desert and the Great Gobi. Therefore, in ancient times when the traffic was underdeveloped, it was difficult for China people to go out. In addition, China has a vast territory and abundant resources, so there is no need to go abroad. This has formed the introverted national character of China people, which is reflected in jewelry, that is, it is implicit but not exposed.

History and politics are also one of the basic reasons for this difference.

Due to historical reasons, if the whole Europe is regarded as an existing group, then its whole history is the history of conquest, subjugation, rule and domination among various countries and nations. When a nation becomes strong and then occupies a dominant position, its culture and the carrier that reflects this culture will change, even mandatory; China is different from Europe. The dynasty changed vertically, but the reins did not change much. Frequent changes are hard to find in the history of Chinese jewelry. China culture has been handed down from generation to generation without interruption. It is this historical continuity that makes it impossible for China's jewelry modeling to change suddenly. Due to political reasons, China has been in a unified state for most of its history. Since the era of the Yellow Emperor, it has been ruled by one person, and the idea of unification has accompanied China for two thousand years. This unity was suspended.

Another reason why Chinese jewelry has not changed much is that China people revere their ancestors, and the system established by their predecessors cannot be easily changed. This is essentially different from westerners who always try their best to deny their predecessors' ideas, so he constantly strives for innovation, change and difference, trying to overthrow the predecessors' 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, frequent changes like those in the West are unacceptable. The nationality of China determines that China people's aesthetic pursuit is 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. Modern jewelry design has a deeper meaning, which is a comprehensive and creative design activity with aesthetic nature and covers 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. Westerners think of different concepts from ours, and have completely different understanding of life in the face of nature. In Greek and Roman mythology, the sun god is Apollo and the moon god is Di Anna. Every natural thing has a person's appearance. When you think of nature, you think of a person's image. In the Bible, God crushes Adam with clay, and the whole universe is naturally human. Although they also believe that man is a part of nature and the most essential part of nature, man can overcome and make use of nature. In China's mythology, Pangu lay down after the dawn, with one eye turning into the sun and the other into the moon. Rivers are his blood vessels, mountains are his bones, the ups and downs of the earth are his vitality, and man himself is transformed into the vitality of mountains and rivers. Taoism sees everything from nature, and earth, heaven, Tao and nature are the highest vitality and creativity. After a hundred years of changes in modern times, Chinese jewelry is also absorbing some things from the West, but it is very meaningful that those spiritual parts in China tradition have been preserved. As designers, we should think about how to explore and use them, and apply the concept of harmonious coexistence between man and nature to contemporary jewelry design.