山寨

不知何时，“山寨”这个词进入了我们的常用词语名录，大家均知“山寨”。“山寨”甚至是中国在国际某些领域的一种特殊标志。那么，我们均知“山寨”不是什么很好的称呼，甚至是一种耻辱和亵渎。我想当下的我们都想摆脱一下这个不光荣的称号。在我看来，我们先认清何为“山寨”比较重要，否则，我们与上寨们斗争了若干年后，可能还会有“山寨”。

“山寨”的定义，应把它放到时代的这个临界点上。应分为两类：一类“纯山寨”；一类“伪山寨”。此两类都应消灭掉，方有中国原创。“纯山寨”：即赤裸裸的“山寨”。例：“康帅傅”与“康师傅”之类，在此不想多举，国人最清楚。我想讲讲“伪山寨”，“伪山寨”对应“伪原创”，号称原创，比如现在国人之设计展经常见到现代家居、工业产品、标识等设计，从形式上看确实找不到任何雷同之处，一看就很国际化，像伪意大利或法国的设计师之设计，非常的时髦、漂亮，但细看却无半点自身性格与气质。各位看官，可用心回忆回忆最近几年的观展经历便知。吾看来均为“山寨”，即“伪山寨”，讲到此处，观者不要激动，下面便讲讲吾之一孔之见，权当笑料。

时代走到今天，我们去评价任何的设计与艺术形式，应是比过去的时代更高级，视点更深邃。我之观点，一个好的设计和艺术形式没有自己发自生命的诚意、气质，便为“山寨”。比如“无印良品”，妇孺皆知，如果把其放在一个高度去审视，我们会发现其如此鲜明的日本气质，但是外表很现代，看得愈久，愈发的日本。再比如妇孺皆知的“宜家”，亦现代，为何愈看愈北欧。这种例子太多，如“优衣库”。比如“苹果”，愈看愈美国，没有人说他们是伪原创。虽然看起来均为现代，但永远没人会说他们，这便是气质所至。看看国人各个领域之现代设计，又有多少能做到如此，从手机到生活用品，再到汽车，到建筑。每年的设计大赛，在各个领域百花齐放，多如牛毛，领奖无数，为什么会出现如此状态。为什么国人之：徐冰、蔡国强、艾未未，均在国际之领域，抬头看天，因为再是现在的艺术，均源自心底的本源。生命的本源，这便是他们的气质，纯艺术界有了，设计界呢？各位看官已上眼的能数出几人？王澍，刘家琨……建筑界的。

我之观点，站在这个时代的起点上，评定“山寨”应更有一个高度，我们方能摆脱“上寨”。那么未来评判“山寨”的唯一标准，即是否出自情感，出自情感的本能，出自你修为之后的情感的本能的气质，否则皆为“山寨”、“伪山寨”、“伪设计”。

Mountain Fastness

Though not knowing when “mountain fastness” was fit into our common vocabulary list, everyone now know about it, which even become a kind of special mark equal to made-in-China in the world. However, mountain fastness is not a good word to Chinese; it even means disgrace and blasphemy. Therefore, we all desperately want to get rid of this dishonorable mark. In my opinion, it is more important to recognize what is mountain fastness before taking action, or it still exist after us several years’ struggling.

Standing in the critical point of the time, mountain fastness can be defined into two parts: pure mountain fastness and pseudo mountain fastness. Only two of them were eliminated, China original could gain a foothold. To pure mountain fastness is total mountain fastness, such as “Maste Kong” copy from “Master Kong”. But I don’t want to list more examples here as Chinese all knows it deeply. All I would like to talk is pseudo mountain fastness, it against pseudo original; for example, it’s not hard to find designs on Modern Living, Industrial Products and LOGOs etc that are international and seemingly original in Design Exhibition of China, after further examination, you will find no original characters and temperaments but high simulation under it’s gorgeous Italy or French styles. Just review your experience in exhibition, truth naked. In my view, all mountain fastness is pseudo. I wish you all could calmly read my humble opinion as followed.

In this highly developed time, we should, in a more profound view, evaluate any designs and art forms with higher standards than ever before. A fine design or art form without faith and temperament itself shall have is called Mountain fastness. As we know, MUJI contains significant Japan factor beneath its modern face; IKEA keep being North Europe with modern style; and APPLE’s America temperament, so does UNIQLE. They all look modern, but still original and no one could deny it. Now eyes pull back to our fellows’ designs, from mobile phone to daily necessities, to cars, to architecture, how many works on earth stand out? Though Chinese international designers who develop a foothold in pure art only few in number, such as Xu Bing, Cai Guoqiang and Ai Weiwei, all their modern design come from the origin of heart, source of life without exception. What about in architecture? How many you could count out? Wang Shu, Liu Jiakun...

Therefore, my point here is to stand higher to define mountain fastness so as to eliminate it. The only way to determine mountain fastness is whether your design really comes from emotion, from instinctive feeling, from instinctive temperament you’ve cultivated. Any designs fail to the above standard shall be called mountain fastness.