Understanding of modern arts and crafts ... is urgently needed. ...

After the 20th century, the pace of industrialization in China has been gradually accelerated from the beginning, and the creative mode has gradually changed from manual production to machine manufacturing. Mechanized mass production leads to the separation of design and manufacturing, manufacturing and sales. Therefore, industrial design, which aims at transforming the interests of producers and consumers into products, has gradually become the main component of modern technology in China.

China's modern technology started from pattern science and pattern design. The word "pattern" was first introduced from Japan, and its connotation was condensed into aesthetic decorative meaning in China from the beginning, and it became the product surface decoration or decorative pattern painting of commodity art, which led to the extensive development of modern pattern research and pattern design in the 1920s and 1930s. At one time, many art colleges set up design departments or courses. Chen Zhifo compiled the first modern pattern teaching material in China, Pattern Lecture Notes, and established Shangmei Pattern Museum in Shanghai to provide design schemes for manufacturers. Later, he also edited and published monographs such as Pattern ABC, Table Number Pattern and Pattern Composition Method. Lei Guiyuan also wrote monographs such as Research on the New Pattern and Theory and Practice of the New Pattern. Li Youxing, Cheng, Chai Fei, Xiao Jianqing, Wu and other arts and crafts artists and educators actively advocate or engage in the research and design creation of pattern science. The research of pattern science has promoted the prosperity of basic patterns and various craft pattern designs (such as ceramics, dyeing and weaving, advertising, lacquerware, etc.). ). But most of the patterns at that time were seen in newspapers, pattern collections or exhibitions as desk work, and they were rarely put into production. After 1950s, the research of pattern science continued, and the depth and breadth of the research greatly exceeded the previous level. Researchers not only summarize and study Chinese traditional patterns, but also extensively study and introduce foreign ancient and modern patterns. The broadening of academic field of vision and the stimulation of production practice make pattern art take on a brand-new look. On the one hand, as the desk work of the basic education of arts and crafts, it improves the level of artistic creation and enriches the expression techniques and skills. On the other hand, as a design scheme put into production, it has enhanced its pertinence and applicability. The rapid development of industrial production in 1980s constantly inspired people to break through the narrow concept of decorative patterns and bring them into the comprehensive requirements of industrial design. This trend has triggered and promoted the reform of pattern teaching and even the whole arts and crafts education.

The development of modern industrial design was mainly realized after the founding of the People's Republic of China. In 1950s and 1970s, the state promulgated and implemented several five-year plans to gradually establish an independent and complete modern industrial system. Great progress has been made in plastics, glass, ceramics, enamel, hardware, watches and clocks, and the design of industrial products has also developed accordingly. Due to the overall lack of sufficient understanding and attention, the design in this period was at a low level and the design strength was very weak. In 1980s, with the rapid development of light industrial production, the competition of daily industrial products was fierce, people's living standard and consumption level were greatly improved, and the information of international industrial design movement spread to China in frequent cultural exchanges. These factors make the design of daily industrial products go to a new stage. At this time, the product design has shown signs of comprehensively considering and dealing with the relationship between decoration, modeling, structure and function, and some excellent designs stand out. Industrial design education has developed rapidly. Since the Central Academy of Arts and Crafts set up the Department of Industrial Fine Arts, other domestic fine arts colleges and some engineering colleges have also set up industrial fine arts majors. Teachers and students in colleges and universities actively contact industrial production departments to provide them with product design schemes, so that industrial product modeling presents a new look. Today, the modeling design of daily-use industrial products in China has gradually presented an imitation and mature posture, which shows that the design concept is infiltrating into people's consciousness at an unprecedented speed. Designers' requirements for comprehensively grasping the design intent of products from the social, economic, technical and aesthetic perspectives are gradually strengthened. The theoretical research of industrial design has begun to think about establishing an industrial design system suitable for China's national conditions. All these show the possibility that China's industrial design will leap to a higher level.

Chen Zhifo, Lei Guiyuan, Li Youxing, Chai Fei and others all participated in the design of yarn-dyed fabrics in the early days, but at that time, China's national textile industry was struggling and the country was in a catastrophe, so it was difficult to achieve the achievements in the design, manufacture and development of yarn-dyed fabrics. During the period of People's Republic of China (PRC), the textile industry developed rapidly. The state attaches great importance to yarn-dyed design, and has established Suzhou Silk Vocational and Technical College and other professional colleges, and established yarn-dyed design departments or majors in central and local art colleges. Enterprises all over the country have a sound evaluation system to organize the design, trial production, trial sale and appraisal of new products and colors. The national authorities have also set up a national textile product research center and a textile fashion color research institution in areas where the textile industry is concentrated. The state holds a national appraisal exchange meeting on new textile products and new colors every two or three years. In the 1980s, the research on the release of popular colors has become a national work with universal significance, which has promoted the production and sales of textile industry.

After the Revolution of 1911, the official uniforms, top belts and braids of the Qing Dynasty were all abandoned by the radical era, and were replaced by constantly transformed suits, Chinese tunics and cheongsam. The solemn and simple Zhongshan suit is an important achievement of fashion design at the beginning of this century. Before the 1980s, the men's wear world was unified, and modern basic clothing systems such as cadre clothes, military uniforms and student clothes were derived. Women's fashion design was more active in the 1920s and 1930s, and new designs of Chinese and foreign women's fashion were often published in journals. Big cities like Shanghai often hold fashion shows or exhibitions. In the nearly 30 years after the founding of the People's Republic of China, fashion design was influenced by the "Left" thought and failed to get further attention and development. People's daily clothes are monotonous in style and poor in color. In the 10 year of the "Cultural Revolution", the clothes of the whole world were even darker. Since the end of 1970s, clothing design has been greatly improved, and the varieties, styles and colors of patterns and colors are increasingly rich and diverse. Suits, hunting clothes, dual-purpose shirts, jackets, embroidered clothes, all kinds of long skirts, cheongsam, down jackets, sportswear, etc. They are all fashionable clothes. In 1980s, fashion design circles began to pay attention to the clothing of children, teenagers, the elderly and various professionals. Various forms of fashion shows and fashion appraisal activities are frequently carried out. Some provinces and cities set up fashion show teams to show the new achievements of fashion design at home and abroad. In the 1990s, fashion design spread more and more frequently through various channels, affecting people's colorful and constantly improving lives.

In ancient China, the indoor environment design was very particular and formed a set of traditional models. After the Revolution of 1911, great changes have taken place in the lifestyle of urban people. People are not satisfied with the traditional mode of paying attention to ethical spirit, but prefer comfortable and free western-style interior layout. Lei Guiyuan, Liang Qiyu, Zhang Derong and others had already made some European-style indoor environment and furniture design schemes as early as 1930s, but it was only an unattainable ideal for most people at that time. The achievements of interior design in the 1950s and 1970s were mainly reflected in large-scale buildings in some countries, and the Great Hall of the People was a model. Since the late 1970s, the development of tourism has brought about the construction of a large number of modern hotels and public buildings. Its indoor environment, interior decoration, furnishings or western luxury and comfort, or Chinese elegance and simplicity, or Chinese and western compatibility, has achieved good artistic results. The consciousness of indoor environment design is infiltrating into people's daily life, and at the same time, the vision and theme of design have also expanded from indoor to the spatial environment of the whole city. Grasping the relationship between architectural environment and people and society as a whole is attracting the attention of design circles.

Commercial art has a unique creation in ancient China. Those ancient forms, such as covers, paper packaging, plaques and Chinese facade decoration, are all part of modern commercial art in China. With the development of national capitalist industry and commerce in the early 20th century, modern commercial art with new technologies, new materials and new ideas appeared in China. Modern commercial art dominated by newspaper advertisements was valued and advocated in the early years of the Republic of China, but it prevailed in the 1930s and made remarkable achievements. During this period, advertisements for radio, postal service, road signs, traffic and electrical appliances appeared one after another, most enterprises and commodities had registered trademarks, carton packaging with exquisite pattern decoration and color effect was widely used, mechanical or electric models began to appear in storefront windows, and neon technology was used for storefront decoration or signboard advertisements. More and more employees have formed professional or semi-professional design teams in metropolis, including influential commercial art designers such as Hang Zhiying, Jin Meisheng, Zhang Dihan, Hu, Zhang, Pang Pengyi and Xu Baiyi. At that time, the research on advertising and commercial art was quite active, and a large number of papers, monographs and professional publications appeared. 1936, China Commercial Art Writers Association was established in Shanghai, and the first China Commercial Art Exhibition was held in Nanjing Road, Shanghai the following year. Since 1950s, especially after 1970s, commercial art has entered a new historical stage. Advertising and decoration companies, art companies, design and research units and professional associations have been established in major provinces and cities across the country, and exhibitions and reviews of works are often organized and professional publications are published. 1980 packaging technology association was established, China packaging magazine was founded, then 1982 China advertising society was established, and the publication China advertising was founded. Since the 1980s, advertisements have participated in social and cultural undertakings on a larger scale, and brought about a lively and prosperous situation with a large number of new printing technologies and creativity that integrated modern consciousness and China's national conditions.

Book binding design has a long history and brilliant achievements in China. However, its transformation from ancient form to modern form began at the end of 19 and the beginning of the 20th century. After the Opium War, the introduction of western modern printing technology brought about a revolution in book binding technology. The May 4th New Culture Movement brought a revolution in book binding: calligraphy, binding patterns and pictures were used for book binding, and the overall design of books began to appear. Book binding and book content tend to be unified. In the first half of the 20th century, the art of book binding experienced a process from the blending of old and new, to the pursuit of western flavor, and then to the pursuit of national characteristics. Realistic and abstract patterns, paintings and photography, cartoons and prints were all popular decorative forms. Book binding in this period has made outstanding achievements in modern arts and crafts. Apart from social reality, this achievement is also directly related to Lu Xun's advocacy and support, and the participation of a number of outstanding writers and book binding artists such as Tao, Wen Yiduo, Situqiao, Feng Zikai, Sun Fuxi, Zheng Chuangu, Mo Zhiheng, Cao Xinzhi. Since 1950s, especially since 1980s, China's publishing industry has developed rapidly, and book binding has been greatly improved in terms of materials, format, printing quality, binding methods, decorative forms and overall design level, forming a set of book binding design system.