Research On Chinese Modernism Design In The First Half Of The 20th Century

Did modernist design exist in China in the first half of the 20th century?What kind of modernist design would it be?The subject begins to study the subject by analyzing the cultural phenomena of mainstream modernist design,generalizing the properties,summarizing the ideological motivation and cultural connotation under the appearances,analyzing the conceptual patterns and artistic representations behind objects,clarifying the misreading and dogmatic understanding of the essence of modernism design,and foreshadowing the definition of China Modernism Design.Secondly,based on the overall and multi-dimensional academic vision,the research starts from the design phenomenon of Chinese modernism design,constantly compared the similarities and differences of modernist design between China and the west,and explaining the process of Chinese modernism design from assimilation to alienation.The reflection on the construction of Chinese design will finally trigger the analysis and summary of the internalization of Chinese modernism design.The research focuses on the multi-polar directions such as concept and form,individual and whole,philosophy and culture,society and reality.In terms of the selection of research subjects,its range includes,but is not limited to,architecture,classics,and a lot of "nameless" material products and visual designs.It explains some existing concepts and phenomena that still need to be reconsidered,and also reveals new objects,details and designs that have not been discovered before.It not only pays attention to the form and style of aesthetic category,but also pays attention to the design categories closely related to daily life,commodity consumption and social culture.There are five chapters in this paper.First of all,it discusses the paradigm evolution of the historical research of modernist design,as well as the contradictory display of modernist design,and tries to explore the essence and form of modernist design culture from the perspective of dialectical diversity.Secondly,it analyzes the traditional Chinese cultural inertia and modern social trends of thought,and elaborates the situation of the conceptual preparation of Chinese modernism design before modernist design is flooding into China.Finally,through the phenomenon analysis of the external influx of Chinese modernism design and the experiences of internal transformation,it conveys the main idea of the study that China not only exists modernism design,but also can become a global classic.Chapter Ⅰ discusses several key nodes in the history of modernist design research,and includes the classic mainstream research clues of modernist design,Nicholas Pevsner,Rena Benham and Tim Benton and so on.After that,it summarizes the phenomenon of multi-cultural and local modernism design research after 1980s.Through the comparison with the mainstream paradigm formation,this chapter puts forward the reflection on the established understanding of modernism,paving a foundation for the interpretation of pluralism.Chapter Ⅱ contrasts and analyzes the situation from five different perspectives of"rationality and irrationality","democracy and elite","decoration and no decoration","Integration and subversion","modernism and ornamentalism",and systematically expresses the understanding of the essence of modernism and the comprehensive performance of modernist design in the context of social trends of thought,historical context,conceptual thinking,political economy and other backgrounds from multiple perspectives--a contradictory cultural phenomenon.This is a very important concept guide to understand Chinese modernism design.From the five cultural dimensions of "modularization and standardization","practical rationality and functional rationality","progress and evolution" and "time and space",Chapter III explores the cultural possibility of docking with modernist design and provides the conceptual background of self-examination,in order to establish a clear understanding of the internalized environment of Chinese modernism design.From the "exogenous system" of Chinese modernist design,namely military products,printing and publishing,mass media,commodity circulation,study abroad and foreign practice,Chapter Ⅳ discusses the concept inspiration,form influence and spiritual inspiration of Industrial introduction,visual communication,educational exchange and practical interaction to modernist design.From the "internal development mechanism" of Chinese modernist design,which includes more specific architectural space design,industrial product design and plane visual design,Chapter V discusses the external influence and the internalized experience of Chinese modernism design from the aspects of ideology,cultural trend of thought,material form and etc.The research shows that modernism design,as a heterogeneous culture,has obvious influence on Chinese modernism design.However,Chinese modernism did not stop at a state of following and imitating.Due to the existence of Chinese culture and national personality,foreign culture should be integrated into the operation mechanism of Chinese society and its own culture.This also leads the Chinese modernism design into different fields in the first half of the 20th century.The internalization experience obtained from this process deserves respect of the future generations.Moreover,this process has not only the call of national revival and the support of material consumption,but also the impetus of cultural force and the enlightenment of modern spirit.The cultural concept and style not only has the "internationalization" paradigm comparable to the western modernist design,but also becomes the distinctive "localization" model due to the national characteristics and cultural inertia.