Introduction#
Previous article here: Revisiting "局部" (Part 1)
Actually, in the end, I couldn't finish watching the second season of "局部". The format of on-site exhibition focuses more on the work itself or the life stories of the artists. I am more interested in some interesting theories and viewpoints.
So, I was recommended an interview discussing IP and Bauhaus, which inspired me a lot.
IP and Religion#
The most successful IP is religion.
It has a self-contained worldview and a grand theoretical foundation.
It has vivid characters and stories.
Religion often provides a complete worldview and theoretical foundation, covering explanations for basic questions about life, the universe, and human existence. This theoretical foundation usually involves a series of doctrines, classic literature, principles of faith, and ritual compositions, providing a solid framework for religious IP.
These worldviews and theoretical foundations provide depth and breadth to IP, allowing stories to be explored and developed within this framework. At the same time, religion is full of colorful characters and stories, which often become a source of inspiration for people. From ancient biblical figures to various mythological heroes, the characters in religious stories often represent certain morals, beliefs, or wisdom, and have strong symbolic meanings.
These stories not only play an important role in religious rituals and traditions but are also widely used in literature, art, and entertainment works, becoming enduring IP resources.
Bauhaus#
The predecessor of an artist is a craftsman.
Here is a story about a child whose neighbor was an old shoemaker, who insisted on making shoes for others by hand throughout his life. After a few years of technological development, factories bought machines that could also make shoes. When the child went to see the old man again, the shop was gone, and the old man was gone too.
This is a simple and even uninteresting story, but it is indeed a plain fact that is happening every day now. The video mentions that the main idea of the new art movement is to emphasize the status of craftsmen and the importance of craftsmanship.
Next, Bauhaus is mentioned. In the Bauhaus philosophy, embracing the machine age means combining artists and craftsmen. Under the combination of these two identities, what actually emerges is my profession - designer. Different from traditional designers, this philosophy gives birth to a "new breed". They are proficient in the craftsmanship of craftsmen while possessing the aesthetics of artists.
The traditional view is that artists create beautiful but impractical things. The things made by craftsmen are indeed useful but not aesthetically pleasing. Bauhaus hopes to achieve that an item can be both beautiful and practical, the more beautiful, the more practical, and the more practical, the more beautiful.
I agree with the first sentence. "The more beautiful, the more practical, and the more practical, the more beautiful" is really difficult to achieve, and it cannot be demanded even if it is achieved. Even if it is achieved, I believe the author himself is more inclined to think that it is God who creates through his hands, and he himself is more like a medium.
"less is more" does not mean simplicity is boring, but it means spending more time and effort injecting into the work, allowing no room for error.
I strongly agree. However, whether it is my own paintings or written articles, they are still far from the stage of needing "less", and they are still striving for "more and more". After all, even "more" is not even there, so what is there to "less"?
The article was first published on: CGARTLAB, feel free to subscribe to the newsletter.