The Enlightenment of Xiang Chu Art to Modern Packaging Design

『Abstract』 : Xiang Chu Art with a history of more than 2,000 years has high design and cultural value. It is a treasure house for modern packaging designers to learn and use for reference in design thinking and design techniques. This article discusses the composition methods, color styles and pattern layouts of Xiang Chu art. Summarizes its design features and artistic methods, with a view to inspire and guide modern packaging design through the discussion of the design concept of Xiang Chu Art.

Keywords :xiangchu art; modern packaging design; enlightenment;

The birth and development of artistic design can not be separated from the region, the nation, and the time that produced this culture. As a design category with cultural connotation, packaging design has an unshirkable responsibility for the identification of public cultural psychology and the promotion of traditional culture. The cultural orientation of packaging design has always been a concern for designers. Only deeper understanding of traditional culture melts. In order to make the product packaging achieve the purpose of purchase under the cultural identity. It plays a role in the consumer's ability to sublimate and enhance spiritual content while satisfying the use of functions. In the age of information, the complexity of information flow has made people feel at a loss. This is an era of reassessment, establishment of outlook on life and values. China's packaging designers have relied on the obsession with the influx of Western design trends and the stage of learning, as well as the re-valuation of traditional Chinese culture and art. In the course of this development, people have increasingly discovered that the art of Hunan and Chu that has a history of more than 2,000 years is actually so true and romantic. The Song of Chu, the lacquer lacquer, the Chuxiu embroidered art and the Chulu painting, full of imaginary and splendid passions, are what Liu Xie described as Qu Sao said: “The exquisite beauty, difficulty, and ability can make you wonder” (Wen Xin Diao Long Jaosao)[1]. Xiang-Choc romanticism art echoes with Greek art in roughly the same period. For example, the sun and the moon reflect the sky, illuminating the vastness of the art of later generations, and exerting a profound influence on the culture and art of the later world.

Xiangchu Art retains and continues the atmosphere of primitive religions, retains and continues the passion and innocence of human childhood. At the same time, it absorbs the advanced culture and advanced technology introduced from the Central Plains, and therefore has the skills and offspring that cannot be achieved by previous generations. Difficult to show artistic truth. It retains more relics of the original culture and commercial culture than the Central Plains Art. It never ends with the terror, deterrence of the Shang art, and the rationality and order of the art of the Zhou Dynasty. Regardless of crafts, painting or literature, imagination is always rich and colorful, and emotions are always vivid and hot. The life rhythms that are full of music and dance rhythms, the beauty to the brilliant, and the romantic imagination that can only appear in the original myths, are simply general However, the artistic image of the agile change, the unadorned artistic decoration, and the outstanding artistic expression, all appeared at the same time in Xiangchu Art, making the art of Chu land the strongest voice of the Warring States period.

Located in the middle and lower reaches of the Yangtze River in the Chu state, the climate is moist and mountainous. The bright Chudi working people use the local natural materials, culture and religious beliefs to create the world-renowned Xiangchu art.

1, as a student modeling, out of nothing

The creation of Xiangchu Art and its sculptural shape are not objective imitations of the natural world. Instead, they use exaggerated distortions and composite images to form a surreal combination to express supernatural power.

Due to the influence of geographical environment, the worship of witchcraft and religion, and the legacy of totem worship, Chu people worship the phoenix and smash the tiger. In the Chu art, Feng is always the protagonist. The common tiger in the Chu tomb should be a bird drum. Drums are made of phoenix and tiger, and the tigers are chaotic and strong. They carry heavy weights, and the phoenix draws and draws high praises. The comparison between tigers and birds reveals the totem significance of the phoenix. The exaggeration and integration of Feng's shape is not an objective imitation of the natural world. The shape is nothing, decomposition, alienation, and reorganization. The design language is unique, showing Chu people's extraordinary creativity and observation in the beginning of art. “To build Zhuang, Mei, and Qi in one” (Zhang Zhengming's “Chu Culture is History”) is the symbol of the Chu culture's peak period. Its creative craftsman does not represent a specific animal, but is reflected in the performance of animals erupted by several vitalities. The life rhythm of nature. The pursuit of the ideals and the worship of totems made by the Chu people made the exaggerations strange and began to become abstract and symbolic.

Extracting from the natural image, through Chu people's understanding and abstraction as symbols, has profound and specific connotations. However, once the symbols are popularized in daily life, they will gradually fade into a pattern and lose their special meaning. Chu culture researchers believe that the "Feng" is an eagle and the flying eagle is another species of phoenix. The Chu people regard it as an aeolus. People's talents must go up to the sky, and they need help from Fengshen to run high-flying. In "Li Sao", Qu Yuan imagined himself as a night tour of the sky. There was a saying: "Before you look forward to make Pioneer Pipa, and then you will fly Benlian to Ben." The Moon God looks to the front of the lighting, and the Fengshen Lim helps behind. This will help us all the best. To make a wood statue of Fei Lian and place it in the tomb can guide the soul of the dead to the heavens [2]. The symbolic nature of Xiang Chu symbol is also an important feature of the painting art.

The Xiangchu ancestors could not only describe the intuitive object image as a one-dimensional image, but also visualize the visual experience as a form concept, associating it from one image to another image, and then the image was derived, and the combination was more distant from the original. The new image of graphics, the decomposition and reorganization of these patterns, and the evolution of abstraction and symbolization are not a simple dismantling and patchwork process, but a process of upgrading from content to form.

This kind of artistic creation of the Chu people is instructive in today's information overflowing, brain vacuum, packaging designers generally feel the lack of imagination is inspiration. Engaging in artistic design cannot be just a matter of embezzlement of traditional graphics, imitating, or drawing images from sketches, and the characteristics of art and design require new and bizarre. Designers can only allow their wings to be creative in order to create works that refresh consumers. .

Modern packaging design In today's information age, the Chinese packaging designer's thinking space is even more confusing, thinking is limited to the geometric circle, little bit. Simple imitation and borrowing from previous generations. From the perspective of the Chu people on the design of modeling, no hands, is to make modern packaging designers think of the wings of the gallop, only to insert the wings of imagination, is not confirmed by today's scientific and technological achievements of inertial guidance, packaging designers can Create more refreshing works. Packaging has the characteristics of practicality and information, but the inheritance and research and development of the culture can increase consumers' sense of identity and trigger purchase behavior.

2. Strong color pattern flow

The Shang people in Shang Dynasty, originating from the ancient concept of totems - the worship of Vulcan Zhu Rong, the color of fire, the symbol of the south, the color of life, and the black color of the north, the red and black colors have the meaning of yin and yang. In the lacquer art of the Warring States period, the contrast between red and black is the main tone, and the shades of yellow, brown, white, green, blue, gold, and silver are all added. The colors are profound and colorful, and the colors contrast strongly. The color of the pattern is not constrained by the program, focusing on the contrast of the large color of the bright face, more decorative and idealized. Chu's sensitivity to color is instructive to the uniqueness of today's packaging designer's creation of color packaging.

The importance of color to packaging design is unquestionable. Just like the yellow film of Kodak film, the green film of Fuji film, the first impression from the visual impact color to the consumer, in the supermarket sales environment, strong color impact is an important factor to impress consumers. From the treatment of color in the Xiangchu Art, we can see that the strong visual impact is a magic weapon that moves the Xiangchu Art. The stylization of color and the logo and the sales requirements of today's modern packaging design coincide with each other. The richness of black and red, coupled with gold and silver, can be seen in the noble colors of Xiangchu Art. Coupled with yellow, brown, white, green, and blue interspersed with it, it is also vital in luxury.

Chinese art is good at curve modeling, because the curve does not collide with the environment, the curve can best convey the sense of movement born of nature. Therefore, in ancient China, it was explained by “Qu Sheng Ji, Zhi Sheng Ji”[3]. Curve modeling is particularly evident in the Chu art. No matter whether it is a pattern on a lacquer plate, lacquer box, or lacquer enamel, all curves are light, twisted, galloping, and flowing, conveying the beauty of life and the rhythm of life. The curved image is often decomposed, distorted, and abstracted. Take Feng's image as an example. The phoenix and phoenix fins can all form patterns, even with flowing clouds and creepers. The composition of the figure is overlapped, echoes left and right, interspersed with the performance techniques, with a continuous ribbon winding, overlapping patterns, with a continuous ribbon winding, overlapping patterns, with a small circular scroll , to give full play to the effect of contrast between reality and reality and the sense of direction, movement and rhythm of the curve. When the space is grasped and handled, even if the pattern is complex and the content is rich, Chu people will also be able to make room for some space, thus creating a sense of smoothness of air transport.

The design and combination of graphic patterns in Xiang Chu art has inspired the layout design of modern packaging design. Packaging Design In today's era, where consumers demand more humanization and personalization, the graphic organization method in Xiangchu Art can be recreated in the packaging design. The detailed description of the way the subject matter is contrasted is a packaging designer today. Provides a fine example of creativity.

Conclusion

Xiang Chu culture is unrestrained, romantic, and truly overflowing. Standing in front of Xiang Chu Art, we often astounded Chu people's dedication and love for life, and marveled at Chu’s mystical awareness of the vastness of the universe and marveled at the images created only by the miraculous soul. The Xiangchu pattern has the artistic level that future generations can hardly reach. It has a high design value and cultural value. Through the analysis of its artistic form, it systematically and deeply studies the art of Xiangchu culture, and it is based on creative methods and creative thinking. Will provide modern packaging designers with very useful ideas and methods.

Peng Jianxiang (Hunan Industry University)

About the author: Peng Jianxiang (1972—), Male, Manchu, Jinan, Shandong Province, graduated from the School of Packaging Design, Hunan University of Technology, and is a lecturer in the art department of Hengyang Normal University. He is engaged in packaging design research.
Reproduced from: Shanghai Packaging