There is a famous saying that "what is national is the world's". How to understand it?

Human society is constantly developing and progressing. National culture is gradually formed in the process of the development and progress of human society, and naturally there are both essence and dross. The world we live in is a developed country dominated by European developed countries and their immigrants. With strong scientific and technological strength and large-scale funds, they actively promote their own culture and ideas to other countries, hoping to transform the present world into a beautified world in Europe. Faced with this situation, on the one hand, we should protect and develop the essence of national culture, on the other hand, we should eliminate and discard the dross of national culture, try our best to resist the aggressive assimilation offensive launched by European and American countries, and actively and independently promote the country's progress with unique ideas, firm beliefs and practical measures.

To treat tradition, we should take its essence, discard its dross, criticize and inherit, and bring forth the new.

To treat other national cultures or world cultures, we should learn from others. At the same time, we should persist in giving priority to me and use it for me.

The slogan "What belongs to the nation belongs to the world" is really loud at present. Today, with the revival of national traditions and more and more attention, we certainly can't abandon this joy. But who will think about the deeper meaning and carefully touch all aspects of this statement? ! First of all, what does "national" mean? National model? National sculpture? Mandarin? Or ethnic origin?

We are used to calling ourselves "Chinese nation" and our country "China". However, China's historical and cultural heritage lasted for five thousand years. Is the essence just those patterns and silk? ! If a thing is regarded as a pattern, is it just a relationship between the ferocious 2S pattern of Shang bronzes and the peace of Han earthenware, or is it just a label to distinguish Shang Dynasty from Han Dynasty? I knew it was Shang Dynasty when I saw A, oh, China; I knew it was the Han dynasty when I saw B. Oh, China. Doesn't that mean that the word "fashion" in the future includes the word "Chinese style", and the word "Chinese style" includes "Shang Dynasty style" and "Han Dynasty style"? ! After all, the pattern is different! Perhaps two patterns can be paired with a pair of jeans at the same time, achieving the effect of "strong collision between Chinese and western cultures" (really shocking).

Isn't there any internal connection from Shang to Han? ! Is China's 5,000-year-old culture just a bunch of different symbols? If everything in the universe has noumenon, these traditional symbols of China are homologous. This is the spirit, the spirit of a nation. The spirit of this nation is the ontological strength of these symbols, which are only the embodiment of their various forms and superficial phenomena.

Laozi said, "Tao gives birth to one, two, three and everything."

Zhuangzi said: "The Tao is one."

The formation of spirit can drive people's conscious behavior and form culture. Culture is only the space-time relationship of spiritual materialization accumulation; And every nation has its own unique spirit, just as everyone has his own personality and hobbies. Therefore, this "nation" refers not only to those historical sites and design symbols, but also to a nation's culture and, at a deeper level, to its unique spirit. Because of its particularity, it is unrepeatable, that is, unique. Coupled with the profoundness of China's traditional culture, "cosmopolitan" is well-deserved. The "cosmopolitan" here refers to the different splendid cultures of all ethnic groups in the world, and the deeper level is their spirit. But in today's China design, I can't see the "China spirit", I can only see the corpse of the spirit being dismembered, hung and displayed. It's like the hand loses its meaning without the body.

However, I am deeply worried that today's design community will shout this slogan so loudly.

Of course, "national" is "worldwide", but it has spawned many designers who sell their own national symbols. Sticking a pattern in the east, spelling an embroidery in the west, and even using Thangka, Cantonese embroidery and tattered jeans together, just for the pursuit of a visual effect, it also exudes a heinous feeling of "making the East and West cultures collide extremely".

So the unique advantage of "nation" is reflected at this moment, because Chinese and western cultures are bound to be two very different cultures, and westerners are still interested in the gorgeous culture of the East in the world, so an ordinary pair of jeans becomes novel after affixing an embroidered piece. That's because embroidery itself has a mysterious and traditional concept, so westerners are curious. Even if it is really beautiful, it is also the credit of embroidery.

Maybe ten designers will put the same piece of embroidery in ten different positions on the same pair of trousers, but foreigners will still be interested in any one of them.

They laughed, so some of us said "nationality" was good, which accelerated the process of internationalization and opened the door to internationalization.

This is a very dangerous point of view.

Because the purpose of this view is "internationalization". I'm not trying to stop China's culture from flying around the world, but if it is for this purpose, it will certainly please others, so designers will not think from the standpoint of their own nation. It will be made and positioned according to the preferences and tastes of "international". They say yes is good, but how do you know that what they say is not good and what they say is really good? Even if the element you use is "East", you also use "Western" thinking, which is what Westerners think of as the East, and the most dangerous thing is that you still think that the East in the eyes of Westerners is the real East! The final result can only be to make one's own culture gradually disappear and become a historical relic of old embroidery attached to a pair of rotten jeans.

Why are China people so insecure? It's really like Sartre's opening remarks: "Orientals can't speak for themselves, only westerners can speak for themselves."

Can China's culture only develop by this compromise? ! What if one day foreigners are no longer interested in embroidery? ! Are we no longer "international"? !

The design and language are the same. Modern language can express profound Buddhist thoughts, and classical Chinese can also describe Kant's philosophy. The existence of spirit lies not in what language it is expressed in, but in the spirit itself. Therefore, this misunderstanding of internationalization can only lead to the classicalization of Kant's philosophy, which is not conducive to the long-term development of China culture.

However, isn't the "country" the "world"? !

We just need to think about this problem from another angle.

Since all ethnic groups belong to the world, we just need to consider how to further develop them. However, the development of national culture cannot be divorced from the current international environment, nor can it lose the foundation of the nation, nor can it go against the torrent of history. In other words, we should focus on our own culture. This kind of attention is real attention, which can be said to be a kind of love. Only when you have a deep understanding can you love. This is not commercial love, but a deep concern. He will know the ins and outs of China culture seriously and sincerely, just as he knows his confidant and lover. Only in this way can we contribute our most sincere strength to its development. Only in this way can we become the backbone of China culture and contribute to the development of national culture.

If we really want to pay attention to our own culture, we must break the apotheosis of "internationalization". We should believe that we can do better. "Internationalization" is important, but what is more important is that the national cultural spirit is immortal. Only when the national culture is immortal can it be "internationalized" forever.

So we say that "what is national is the world's".

To grasp the "nation", we must first understand its history. There are essential differences between eastern culture and western culture: one emphasizes the peace and harmony between man and nature, the other emphasizes the pleasure of conquest; One pays attention to the experience with heart, and the other pays attention to the experiment.

And when westerners' strong ships and guns make the world smoulder, their thinking consciousness becomes "mainstream consciousness" As far as design is concerned, western aesthetics has become the mainstream aesthetics. He used the word "element" to combine the cultures of all ethnic groups, which was overbearing and self-centered. Because elements can only be combined into concrete forms of matter by certain structures, and the word "China element" used on a piece of clothing must indicate its main structure and way of thinking or western way of thinking, while China's culture with a long history is just an element. If it is not this model, diamonds are still diamonds and coal is still coal.

If we insist on the relationship between structure and elements, why don't we China designers wear those "gradually lost eyes" patterns to get a deeper understanding of China culture and its thinking mode? When we regain the spirit and mode of thinking of the Chinese nation, isn't it the turn of the word "western elements" to appear in magazines? What will China designers think if they see that western designers are also happy to see the word "western elements"?

I am convinced that that day will come, just as I am convinced that "what is national is the world's". Finally, I want to end with two sentences: "The revolution has not yet succeeded, and comrades still need to work hard."