Deconstruction Language In Decorative Art

"Deconstruction", as a kind of design style emerged in the 1980 s, and deconstruction philosophy can be traced back to 1967, after the end of world war ii, people pay more attention to the expression of individual inner world, also begin to pay close attention to life and social issues, they are no longer confined to the original some rigid, dogmatic views, essentially began to challenge some of the old way of life. So the core of "deconstruction" is to structure itself, think the symbol itself to real anyway, compared with the overall pay more attention to individual study alone. In short, the deconstruction and deconstruction is to break the existing order of unitized. This order may be social moral order, the order of marriage, ethical order, and also include some personal consciousness on order, such as thinking habit, accept habits, habits and settling down in the heart more abstract culture and ethnic character of the unconscious. Deconstruction intention to break the order it considers metaphysics, and then create a more reasonable order.This language is hard to be defined. It seems to be tangible and untraceable, but appears everywhere all the time. It is a kind of art language generated from a philosophic background, which possesses the universality of art language. The third chapter summarizes the form characteristics of deconstruction language of asymmetry, incompleteness, intense contrast, movements, obvious rhythm and abrupt changes. Therefore, it can be inferred that deconstruction language is produced in chaos, and new sense of order was built after the transition of the designer.Deconstruction language forms a contrast between disorder and order, thus forming an artistic effect of unity of opposites. At last, from environmental art, art of industrial design, art of costume designing and decorative art, this thesis takes different examples to prove that in decorative art, deconstruction language has both the opposite and unified sense of order, which also illustrates the features and significance of deconstruction language’s existence in decorative art.