This bronze sculpture implied an important transition from the art of god to human

I do not like the gray its color to bright for the United States and simple and generous, enthusiastic, four bright colors together can say that this is a movement of color, rich color and visual experience. the Fengxiang bronze color of the application characteristics and aesthetic connotation research culture of the Fengxiang bronze color and modern design combined with the significance of modern color design too much emphasis on scientific theory, color psychology and emotion in mind to become thin, but also to the cultural connotations of color can not reflect the lack of this color in the vitality of the traditional folk art, color, how the traditional folk art in the vitality of injection to the modern design, is an urgent research topic of local designers with the modern design of the development of art in China. The bronze at this time doesn’t have any mysterious and majestic character.
The Chinese designers design art more and more depth of exploration, attention has increasingly focused on the explore local culture, a lot of good designers make full use of traditional culture and have achieved good results. In the long historical process of Bronze Age, the bronze had always been the focus.  Whether in ancient or modern, as a cultural connotation of carrier , color, design is always to people's ideas, lifestyles, standards of beauty for the idea. aesthetic of traditional Chinese way of thinking of color have a great impact, the aesthetic idea of the color key is to meet the psychological needs of the people in Fengxiang bronze color concepts, the application of color with a strong subjective aesthetic emotion, symbolic meaning is intuitive, simple, simple, but also emotional. "veiled desire and demand for performance is the honest people. magnanimous mind the portrayal of "22, such a simple color rustic aesthetic way to maximize the satisfaction of working people need the psychological color Oriental flavor reflected in the Chinese folk art is more of a psychological need to express and sustenance.
In a particular social background and folk culture the Fengxiang bronze color of the unique emotional characteristics on the visual and content with a strong Oriental flavor, its inherent laws of modern color design provides a wealth of resources, especially wind Xiang bronze color emotion system can compensate for the empty and over-theorizing of modern color design, modern design in the performance of the color more vitality, better able to meet people of color aesthetic emotional and psychological needs. The emergence of human patterns on the bronze is of essential significance.  Fengxiang bronze color with bring modern design, modern design of the visual impact of the increasing emphasis on the visual experience, an attractive visual image has almost become the first point of designers external pursuit, color plays an important role in the performance of the visual image in the Newton color ring after the invention.
 The people developed a more comprehensive expression of color-color three-dimensional, so-called color three-dimensional, that is, by means of three-dimensional model to represent the relationship of hue, lightness, purity ~ of expression, now the main color three-dimensional color system, including Germany Ostwald color system, the American dream Sale color system, color system (referred to as Japan's color research and color system). he appearance of this  bronze sculpture implied an important transition from the art of god to human. Color System Science summarizes the color relations, modern design, color dictionary, computer digital age, color, scientific become the consensus of the design world, a breakthrough in color vision, change the color of vitality, it is necessary to seek the color of the root culture, and therefore the emotional system of traditional Chinese folk art, color implanted the beginning of modern color design significance. quote from "China and China to ask the Introduction to Fine Arts," Tang Lu 22.