Anonymity And Version

From the perspective of "anonymity" and "version",this paper comprehensively reviews the spread of pedagogy,design,image,products bauhauslers related to the Bauhaus from the 1930 s to the early stage of China’s reform and opening up.Based on sociological and cultural theories,the study uses "anonymity" and "version" to build a framework for discussion."anonymity" refers to the design or concept of Bauhauslers which did not mention the name "Bauhaus" spreading in China through the circulation of goods,interpersonal communication and images.It also refers to the multiple and logical concealment of the subject in the process of shaping the "Bauhaus" discourse.However,"anonymity" is also a "version".The " version" show different subjects competing for the interpretating power of the "Bauhaus" by various political systems,the three principals with different concepts,and the Bauhaus teachers and students."Bauhaus" had varied meaning due to different periods and ideological backgrounds in the same culture.In China,different subjects have different understandings of the "Bauhaus" because of disciplines,political positions,historical accidents and other reasons.The paper examines the questions of "anonymity" and "version" to dialectically interpret the enlightenment and "myth" formed by "Bauhaus" in China.In order to reveal it,this paper attempts to restore the overall appearance of the "Bauhaus" in China for the first time through interviews,empirical studies,imaging and comparative research,and analyzes it as a dynamic process of discourse.This research is different from many previous studies that focused on comparative design concepts,but empirical research that is based on a large amount of historical evidence.The study first investigated the complexity and contradiction of the "Bauhaus" spread internationally.The “anonymity” Chapter separately discusses the anonymous production of steel tube furniture designed by the Bauhaus in China,the role of the Bauhaus design concept in Chinese experiments on architecture and design,Bauhauslers’ interaction with China during the criticism of“Bauhaus”.The "Version" Chapter discribes the differentiated understanding of the Bauhaus by the disciplines of art,design and architecture in China,the influence on China by different attitudes toward the "Bauhaus" in BRD and GDR,the geographical translations of "Bauhaus" in United States,Japan as well as its relations to China,and the controversy on "Bauhaus" in the early days of China’s reform and opening up.The above analysis reveals that the spread of "Bauhaus" in China is not just due to great idea,but the complex discourse construction under the influence of factors: variety of nationalism and colonialism,diplomatic strategies and geopolitics,global trade and industrial production capacity,cold war awareness and public psychology.In the construction,the Chinese are both passive and active.To answer the question why the Chinese chose and understood the "Bauhaus" in this way can help to objectively examine the "Bauhaus" and better reveal the special model and logic of Chinese local modernity.