Discussion On Positioning And Promoting Of China’s Design Styles In The World

Starting from80s in the20thcentury, globalization has deepened and spread aroundthe world and international communications and exchanges have developed rapidlynever before. However, developed countries such as the United States, Europe andJapan are still dominating the fields of economy and cultures and leading in R&D,design and production of film industry, TV plays, cartoons, arts, fashion, and high-techproducts. In the field of art design, China’s designers have imitated European andAmerican design styles in the early years. As Japanese and Korean cultures arebecoming popular in China in recent years, many designers are turning to imitateJapanese and Korean design styles. China has a long history of5,000years.Confucianism and four great inventions in ancient China had profound and lastinginfluences on world’s development and prosperity. But China’s modern designers havelost motive powers and blindly imitate the design styles of other countries. This is aquestion worthy of deep considerations.The first chapter pursues the origins of design history and finds that it starts fromStone Age. The paper summarizes design styles of Paleolithic and Neolithic periods,and analyses design styles of Dynasties of Xia, Shang, Zhou, the Spring and AutumnPeriod, Warring States Period, Qin, Han, Tang, Five Dynasties and Ten Kingdoms,Song, Yuan, Ming, Qing as well as contemporary period.The paper then states that the origin of design in world history has similarity withChina’s design origin. It summarizes design styles of world’s Paleolithic and Neolithicperiods, and analyses design styles of ancient Egypt, ancient Mesopotamia, ancientIndia, Aegean Sea civilization, ancient Greece, ancient Rome, Middle Ages of Europe,Renaissance as well as contemporary period.Next, the paper presents international influences of China’s design styles indifferent history periods and its current position in the world. The paper goes a step further to systematically compare and analyze design stylesof China’s and foreign countries and summarize souls and shining points of European,American, Japanese, and Korean artistic designs. After that, the paper discusses how toestablish China’s distinctive and unique design styles.The last chapter discusses different ways of promoting China’s artistic designstyles worldwide, especially put emphases on actively participating international designcompetitions, exhibitions and activities, pushing forward exchanges of internationalstudents, and promoting communications and exchanges of artistic design associationsand academies. Moreover, China needs to continuously promote national images anddisseminate cultures and arts in efficient ways.