Patterns Of Chinese Primitive Painted Pottery In Modern Graphic Design

Today, when globalization brings into existence cultural identity, China shows many disadvantages in the theoretical and practical researches on modern graphic design, and how to seek and embody the difference, particularity and regionality of the design has become the common problem facing the designers. To attain further development, Chinese modern graphic design is supposed to revolve around native history and culture for the purpose of excavating native design elements, with the application of Chinese primeval pottery patterns turning out to be a good breakthrough point. As one of the arts of Chinese primeval pottery that enjoys a long history, pattern art constitutes a significant link of Chinese art development. As a practical and decorative art, Chinese primeval pottery pattern has made glorious achievements, laying a foundation for Chinese traditional artistic form. Chinese graphic design will be bound to show stronger cultural characteristics and more profound national connotations when Chinese primeval pottery patterns are applied in modern graphic design, and new design concepts and methods applied to the re-interpretation and innovation of patterns.Through inheriting and innovating in Chinese primeval pottery pattern in modern graphic design, this paper attempts to explore the way to building visual images and cultural connotations of design works by dint of the native elements featuring profound national culture. By this way, not only can national, regional and cultural characteristics of Chinese graphic design be highlighted, but also the exploration of Chinese graphic design with national characteristics can be enriched and supplemented.In this paper, energy is firstly devoted to sorting out and specifying the visual representation elements and the deep cultural connotations of Chinese primeval pottery pattern that is applicable to modern graphic design. According to the current situation of Chinese modern graphic design, efforts are spent in elaborating the application value of Chinese primeval pottery pattern in modern graphic design, as well as attempting to re-interpret, inherit and renovate Chinese primeval pottery pattern by dint of modern graphic design methods and concepts. Afterwards, theoretical argumentation is combined with actual case to expand the application thinking of Chinese primeval pottery patterns for the purpose of testing the theory in practice. As the inheritance and innovation of traditional culture in contemporary context, this study also proves to be the exploration about the national and local practice of Chinese graphic design in international field, which has provided not only theoretical but also practical references for the establishment of Chinese modern graphic design system.