Traditional handicrafts have never been static in the long historical development process, but have always been in "change" with the times, and thus formed a rich and diverse historical style. Can the modern "innovate new" bring it back to the trend of the times? Two innovation attempts in the 1970s showed that this was very difficult.
In the farce of the "Cultural Revolution", under the inspiration of "model drama", traditional crafts appeared to directly reflect the climax of a revolutionary theme or a plot of "model drama", which can be called "model drama". This innovation basically ruled out the laws of art. With the end of the "Cultural Revolution", this kind of innovation will be gone. In the late 1970s, a hundred wastes were waiting to be revived. In order to revitalize traditional handicrafts, "Renaissance" innovation attempts were also made, that is, to promote the revival of "Han and Tang styles" and "Dunhuang styles".
It is intended to get rid of the shackles of the Ming and Qing styles for decades and draw nourishment from classical art to make it have a broader creative field. However, this disguised retro is difficult to achieve the expected results in the 70s and 80s. There are deeper reasons for these two "new innovations" encounters. One is the difference in understanding of traditional culture. The diversity of traditional Chinese culture goes without saying. However, the traditional handicrafts in the minds of ordinary people are often fixed in the Ming and Qing styles, not only because they are directly connected with modern times, but also because there are many relics in the Ming and Qing dynasties, such as architecture, gardens, furniture, paintings, operas, novels, etc. It merged into a landscape of classical culture, forming a set of understanding.
Instead, he is unfamiliar with Han Tang, Dunhuang and other arts that experts admire. An imitation Tang pagoda was added to the Hanshan Temple in Suzhou, which is regarded by many as a "Japanese style". If the revival is blind, even if the artistic level is high, it is difficult for most people to appreciate. The second is that improvement cannot save traditional crafts. The above two types of "innovation" are based on the premise of maintaining the completeness of traditional handicraft skills, materials, and performance techniques, but only switched on the theme and made partial improvements. Facts have proved that in modern society, traditional handicrafts either show the profound history in a predetermined style; or separate the skills and style, and recombine with the modern elements before they can be integrated into the environment of the industrialized society, thereby obtaining "regeneration".