法国颇负盛名的艺术评论家让·克莱尔,特别强调艺术的民族性和地域性,强调艺术的永恒性和“回归起源”的特征。一方面,他猛烈抨击了美国主导下当代艺术的世界主义特征,认为世界各地“当代艺术博物馆”所展出的差不多都是同一类人、同一类东西。这些没有主题、没有意义、将任何人文因素“清洗、漱涤干净”的艺术;另一方面,他将意大利文艺复兴时代诸画家与当代艺术家的毫无个性作了对比,指出前者每人都带有他们所在乡土的景色和光线的标记。克莱尔的真知灼见令人深思。回到本文的题目上来,即是如何在现代设计中体现出中国民族艺术的特性。套用克莱尔的观点,其设计应带有本土的传统艺术的标记。关于这个问题,圈内人多有高见,而在笔者的艺术实践和教书生涯中,也深深感到在当今“全球化”或“世界化”的 France’s prestigious art critic Jean Claire, with particular emphasis on the national and regional art, emphasizes the eternal art and the characteristics of “return to origin.” On the one hand, he violently attacked the cosmopolitan characteristics of contemporary art under the direction of the United States and held that almost all the “contemporary art museums” in the world are displaying the same kind of people and the same kind of things. On the other hand, he contrasts the artistlessness of the painters of the Renaissance period in Italy with the contemporary artists, pointing out that each of the former belts There are local scenery and light of their mark. Claire’s insights are thought-provoking. Back to the topic of this article, that is, how to reflect the characteristics of Chinese national art in modern design. Applying Clare’s point of view, its design should be marked with indigenous traditional art. On this issue, many people in the circle have high opinions, and in my artistic practice and teaching career, I deeply feel that in today’s “global” or “globalization” of