Lighting and lighting design itself is full of technical and artistic content, so it is a cultural phenomenon. When a designer does not have a basic understanding or understanding of "culture," it is hard to imagine that he can have a good work.
"Culture" has two parts: implicit and explicit. As a lighting designer, if you can't correctly understand and digest the implicit part of culture, you can't correctly understand the explicit form of culture. Of course, you can't correctly express, express and reproduce a specific culture, and you can't realize cultural consciousness.
I believe that our lighting designers should first establish a correct understanding system for the basic spirit of Chinese traditional culture, in order to create more, better and more valuable lighting design works based on cultural consciousness.
The basic spirit of the so-called culture refers to the most subtle internal motivation and ideological basis of cultural phenomena, and is the basic idea and basic concept of maintaining and promoting national or regional cultural development. From a macro perspective, the basic spirit of Chinese traditional culture has the following contents:
First, the unity of heaven and man
This is one of the most fundamental differences between Chinese and Western cultures. On the issue of the relationship between man and nature, Chinese culture pays more attention to the harmonious unity between man and nature. The proposition of "Heaven and Man are one" is the precise expression of this spirit. The content of this proposition refers to the law of unity between man and nature, affirming the unity of nature and spirit, and paying attention to the coordination of human behavior and nature.
The "day" of "Heaven and Man" includes the sky above us, but not just it. From a more abstract perspective, "day" refers to an objective environment that is not transferred by the will of individuals, organizations, and human beings. Only when a lighting designer truly understands, digests, and practices this cultural spirit can he ensure that his design behavior “does not anger†(not angering the environment), which is not a play. In our lighting and lighting design practices, it is not uncommon to be incompatible with the environment, such as serious light pollution problems.
Second, people-oriented
Humanism or humanism has always been regarded as a major feature of Chinese culture and an important part of the basic spirit of Chinese culture. The specific connotation means that between heaven and earth, people are the center, between people and God, and people are the center. This is a concentrated expression of Chinese culture beyond religious emotions and functions. In Chinese culture, God has never occupied a dominant position.
This cultural spirit has practical guiding significance for lighting design. Some of our unpopular landscapes and building lighting are the result of copying Western design techniques. As a designer, we should be aware that any design work is an explicit expression of the designer's inner value system. In the field of lighting design, the religious feelings of designers are often expressed in the technical aspects of color temperature, illumination and light color selection. The objects they satisfy in their works are often examined from the perspective of religious emotions. Therefore, they are effective in the West. Design methods that are well received are not necessarily applicable in China. Because, in Chinese culture, God has never occupied a dominant position. I would like to say that when lighting design involves cultural issues, copying often leads to failure.
Third, the noble monk
"Guijiao, Shangzhongdao", as one of the basic spirits of Chinese culture, has a huge impact on Chinese culture. An important difference between Chinese and Western cultures is that Chinese culture is harmonious and unified, and Western culture is divided and confronted, thus forming a distinctly different cultural tradition.
"Harmony" is not "same". "And" advocates the unity of the diversity of things and the coexistence, tolerance and integration of different things. The so-called "the same path is the same" and "there is tolerance is big" is also. Under this spiritual influence, Chinese traditional culture attaches great importance to the harmony of the universe, the harmony between man and nature, especially the harmony between people;
"Guihe" often brings "Shangzhong", "Shangzhong" is to require people's behavior to abide by the "moderate" way, to "hold the middle", in layman's terms, is to ask people's behavior to try to avoid "over" and " Not as good as ", trying to avoid extreme behavior.
This spirit seems to be similar to "Heaven and Man" at first glance, but it is not. "Heaven and Man are united" deals with the relationship between man and the environment, the relationship between subject and object; "the noble monk" deals with the relationship between subject and subject, person and man, and the highest norm or realm to deal with this relationship - Tolerance and holding. Implementing into the field of lighting design, it should be embodied in the following aspects: between designers, between design techniques and styles, and in the final performance of design, they should learn from each other and integrate them. Only in this way can their works be more people. Accept and love.
The above is more abstract, but it is not incomprehensible. As we continue to summarize our successes and failures, we will understand. I believe that if we have more lighting designers who have more and more profound understanding of the above-mentioned basic spirit of Chinese culture, there will be more and more valuable designs in the whole society. Works!
Edit: Nizi
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