Decorative art
A painting or sculpture process attached to a theme. Make the decorated subject beautify according to its utilitarian requirements. Decorative art is closely related to people's daily life, such as environmental art design, industrial modeling design, clothing, jewelry, commodity packaging and other daily necessities decoration. Moreover, almost all technical fields are related to decorative arts, and judging from its relationship with decorative disciplines, it has duality. On the one hand, it must be subordinate to the subject, that is, decoration shows the characteristics, nature, function and value of the subject from the aesthetic point of view. On the other hand, decorative art can also be independent of the main body, showing its own aesthetic value. For example, the stone reliefs and brick reliefs used for decoration in ancient Chinese Han tombs are attached to the whole tomb and inseparable. However, their exquisite, magnificent and Gu Zhuo pictures can be regarded as perfect works of art. Facts have proved that their aesthetic significance is often beyond the performance and use value of the subject, thus having pure appreciation factors, which leads to the independence of these decorative paintings and sculptures.
In a narrow sense different from process design, works created by using or absorbing the formal characteristics of decorative arts in painting and sculpture are usually called decorative styles or patterns. They are independent arts with their own themes and connotations. Their strong feature is that they are more ornamental, exaggerated and deformed to a certain extent, and tend to be patterned. They pay more attention to the color contrast of plane space, which is contrary to the emphasis on the perspective of three-dimensional space and the essence of light and shadow.
modernism
/kloc-from the end of 0/9 to the 20th century, the word "modernism" was often used to talk about literature and art. It marks a kind of literary spirit or "modernity" different from any previous period, and is the general name of symbolism, futurism, imagism, expressionism, stream of consciousness and surrealism. Similar to the evolution of many literary terms, the earliest "modernism" is also a derogatory term with criticism and ridicule. According to Kalinescu's research, in 1755, samuel johnson included modernism as a new word created by Swift in the English language dictionary. In a letter to Pope, Swift said, "Poor literati have brought us this rubbish written in prose and poetry with their poor frugality and eccentric modernism." By the end of 19, the usage of this word changed from derogatory to neutral, and it was not until the1920s that it was widely accepted and gained legitimacy. Ruben Dario was the first person who used "modernism" as a commendatory term to refer to the modern aesthetic revolution. As early as 1888, he praised the Mexican writer Carido Gonzalez with "complete modernism in expression". [1] In modern western literary theory and criticism, the word modernism has roughly five uses: ① an aesthetic tendency; (2) innovative spirit; (3) the literary movement; ④ The floorboard of prose style; ⑤ Creative principles or methods. These usages have their own emphases, but the similarities define the meaning of modernism as reactionary realism. As Peter Faulkner said, "Modernism is a part of the historical process in which art got rid of various assumptions in the19th century, and those assumptions seem to have become a rigid routine over time." [2]
In the history of China literature in the 20th century, there were four climaxes of introducing and developing modernist literature: May 4th period, 1930s, 40s, 1950s and 1960s, Taiwan Province Province period and 1980s. There was no word "modernism" during the May 4th Movement, and even the word "modernity" was rare. People generally use the word "new" to express the demands of modernity, such as "new youth", "new trend" or "new literature" and "new culture". Modernism first entered the vision and discourse of China's literary theory in the name of "neo-romanticism". Zhou Zuoren, Mao Dun, Guo Moruo, Tian Han and Hu Shi all called/kloc-0' s symbolism, expressionism and mysticism at the end of the 9th century and the beginning of the 20th century "new romanticism". There are three points worthy of attention in this naming: ① It is obviously the product of the May 4th evolutionist literary history view. In Zhou Zuoren's History of European Literature (19 18), the history of European literature since the Renaissance is described as follows: from the first romanticism that emphasized emotion to the first classicism); Emphasize rationality. From the revival of romanticism at the beginning of19th century to the reaction of realism, from the end of19th century to the beginning of 20th century, anti-realism "neo-romanticism" naturally appeared. Mao Dun also summarized the history of western literature as: the change of classicism-romanticism-realism-neo-romanticism. Mao Dun found the position of "neo-romanticism" in the framework of literary evolution theory in "Opinions on Introducing Western Literature": "Western classical literature was not broken until Rousseau, romanticism ended in Ibsen, naturalism began from the left, and new expressionism began from Madeleine. Today, neo-romanticism has changed from subjective to objective, from objective to subjective, but it is no longer subjective. The evolutionary order during this period is not in one step. " In his view, all new things are good progress, so "the literature that can help the new trend of thought should be neo-romantic literature, and the literature that can guide us to the real outlook on life should be neo-romantic literature." [3] (2) The May 4th literary theory regards modernism as a modern variation of romanticism, and thinks that both are subjective, but people have no deep understanding of the "newness" of neo-romanticism. Tian Han said vaguely: "Neo-Romantic literature is literature that does not depend on reality but cannot be divorced from it." Compared with the old romanticism, it is "not in the sky, but on the ground;" Not in dreams, but in reality. " [4] ③ Pay attention to neo-romanticism from the enlightenment context of individualism and human liberation. In Lu Xun's early literary theory, the combination of romanticism such as Byron and Shelley with neo-romanticism such as Nietzsche, Schopenhauer, Stayner and kyrk Goethe was regarded as an important ideological support for revitalizing social vitality, establishing people and building the country. In short, in the May 4th literary theory, modernism is generally understood and explained in the framework of enlightening modernity. At the same time, symbolism, expressionism, aestheticism, psychoanalysis and other modernist schools and methods of expression have been fully concerned. But it ignores the anti-enlightenment modernity and abstract transcendence of modernism. People are also wary of the mystery, emptiness and divorce from social reality of "new romanticism". Hu Shi once reminded people that only after the baptism of realism can western neo-romanticism produce "the disadvantages of emptiness"; Lu Xun also thought Nietzsche was too vague in Hot Wind. In fact, in China in the 1920s, all schools of modernism gained the status of some method or technology. " [5]
The word "modern" appeared in the 1920s and was popular in the 1930s and 40s. Such as Modern Review edited by Chen Xiying, Modern Novel edited by Ye Lingfeng and Mu Shiying, Modern Literature and Art edited by Shi Zhecun, Modern Magazine, etc. The advertisement in Chen Yuan's Gossip said, "Mr. Xu Danfu said in Xueguang:' Beijing Studies is the birthplace of new literature, which is deeply rooted and vaguely holds the position of the national literary and art circles. "What is Beijing's literary and art circles? In short, the literary and art circles in Beijing in the previous year or two were places where modernism and Silk Road School fought. Mr. Lu Xun (the leader of the Yusi School) must know his fighting righteousness and strategy, and so must anyone who has read The Collection of Gai Hua. However, we still don't understand the modern banner of righteousness and the strategy of its main commander, Mr. Xiying. Now, we have specially discussed with teacher Xiying to select the gossip and print it into a special book. Anyone who pays attention to the anecdotes in the literary and art circles will definitely get a sneak peek. Lu Xun wrote "The Leader of the Revolution" and responded: "I have never paid attention to modernist literature and art, so where can I mention it in" Gai Hua Collection "? It's just that a lady stole Mr. and Mrs. Pia Ci's paintings, and someone said a few words in Yusi (probably a supplement to Beijing Daily). Later, when I looked at the' modernist' tone, I thought I wrote these words. " [6] In the debate between Chen Yuan and Lu Xun, the word "modernism" has officially appeared.
When it comes to modern poems, Shi Zhecun said: "They are modern emotions that modern people feel in modern life, and modern poems are arranged in modern words. The so-called modern life, bread contains various unique forms here: a harbor with large ships moored, a noisy workshop, a deep underground mine, a dance floor with jazz music, a department store in a skyscraper, ... even the natural scenery is different from the previous generation. " [7] The change of words from "new" to "modern" shows people's further understanding of the concept of modernism: ① Modernism is regarded as a symbol of "modern emotion", "modern excitement" and "urban sensibility", which is related to modern people's subjective experience of modern urban life and material civilization; ② Have a deeper understanding of the spiritual characteristics and social background of western modernism. Modernism "gradually becomes suspicious of science and tends to seek all solutions in a subjective sense." "At the end of the century, the general petty bourgeoisie was increasingly threatened by developed capitalism and urban development, which induced extreme tension in their lives. This uneasy neuroticism imagines that there is another irresistible force behind it, which makes them unable to get rid of it ... "So a new romantic school with a different tone from naturalism came into being; [8] (3) Shi Zhecun's modern poetic style, Mu's theory of artistic conception, Liang's pure poetry, Mu Shiying's urban montage and Xu's aestheticism all explain the concept of modernity from all levels. Sun Zuoyun's On Modernist Poetry 1935 divides the development of new poetry into three stages: Guo Moruo's era, Wen Yiduo's era and Dai Wangshu's era. He called the poems of Modern magazine "modernist poems": Dai Wangshu, Shi Zhecun and others represented that "the poems of this school are still growing, with only the same tendency, but no obvious banner, so they have to be named" modernist poems "because most of them are published in Modern magazine." [9]
In the 1940s, the "Nine Leaves Poetry School" called itself "a group of conscious modernists". Chen said that "at present, China's new poetry is still picking up the dross of romanticism and symbolism", which obviously expresses the poet's self-expectation of transcending symbolism and moving towards mature modernism. Yuan Kejia, a kuya poetry theorist, put forward the idea of "modernization of new poetry" and explained the connotation of poetry modernism from the aspects of poetry ontology, organic synthesis theory and drama science. Later, he understood the history of China's new poetry in this way: from romanticism to symbolism, and then to "China Modernism". [10] Indeed, modernism in this period should be closer to the reality in China and incorporate more traditional factors in China, such as Fortress Besieged by Qian Zhongshu and Zhang Ailing's novels.
However, after 1950s, this beneficial exploration stopped completely, and modernism was denounced as "bourgeois decadence". It is generally believed that modernism is the scourge of the bourgeoisie. Yuan Kejia's Political Negation of Modernism published in 1960 is one of them. Mao Dun's Reading Occasionally at Night not only established the absolute authority of realism, but also completely put modernism into the cold palace. In his view, the form of modernism is "abstract formalism" and the philosophical basis is irrational "subjective idealism", which is the most reactionary school of "subjective idealism" since the end of 19. This represents the basic attitude of people towards the concept of modernism in that period. However, "Modernism" has been fully developed on the other side of the Taiwan Province Strait. Louis, one of the poets in Modern magazine, changed his name to Ji Xian, bringing the seeds of modernism from the mainland. In 1950s, he founded the Society of Modern Poetry and Modernist Poetry in Taiwan Province Province, put forward the "six creeds" of modernism, and declared: "We are one of the modernists who sublated and carried forward all the spirits and elements of the New Poetry School since Baudelaire." [1 1] Compared with the "horizontal transplantation" and intellectualism of the modern poetry school, the "Blue Star" led by Qin Zihao absorbed the milder side of modernism and merged the more lyrical crescent school style in Chinese mainland at that time. From Ji Xian's westernized modernism to the combination of surrealism and Zen aesthetics in Genesis, and the great China's view of poetry after 1980s, the concept of "modernism" has been further practiced in the field of modern poetry. In the field of novels, the modern literature founded by 1960 emphasizes artistic experiment and innovation, arguing that the old artistic forms and styles are not enough to express the artistic feelings of modern people, and it is necessary to experiment, explore and create new artistic forms and styles. Bai Xianyong and Wang Wenxing promoted the modernization of China's novels. The former continues Zhang Ailing's tradition of combining classicality with modernity, while the latter is an artistic cosmopolitan, pushing the experimental spirit of modernism to a certain extreme.
In the rural literature debate in the middle and late 1970s, the concept of modernism across the Taiwan Strait was also widely questioned and criticized. Many people think that modernism is divorced from reality and national tradition, and it is an imitation of western modernism. Chen Yingzhen even smells the meaning of western cultural colonialism. After 1980s, the concept of modernism gradually faded in the diversified literary thoughts, but reappeared in mainland literature in the new period, and gained aesthetic legitimacy in the fierce debate. After years of isolation, people are eager to re-examine world literature, especially western modernist literature, and many writers have begun to introduce some new forms of expression. These attempts to open up will inevitably touch the whole aesthetic ideology and trigger a debate about modernism. Xu Chi's Literature and Modernization (1978) and Modernization and Modernism (1982) put forward the concept of "literary modernization" which is suitable for modernization, and held that modernism is the road for the development of literature in the new period: "In the near future, China will inevitably have socialist modernization, which will eventually bring us revolutionary realism and revolutionary romanticism. [12] This is the first attempt to legalize "modernism", which puts the question "Does China want modernism" in front of people. The "rise" of Xie Mian and Sun Shaozhen has effectively challenged the long-term dominant realistic poetics; Gao Xingjian's Discussion on Modern Novel Skills and Feng Jicai's, Li Tuo's and Liu's correspondence on modernism agree that "modernism is a reflection of history and a product of the times" and "China literature needs modernism", which is of great significance to literary revolution. Although these concepts are fiercely resisted by realistic aesthetic ideology, the concept of modernism is still presented to people in the practice of "misty poetry" and stream-of-consciousness novels. Subsequent debates, such as whether the techniques and contents of modernism can be separated or not, and the debate about "pseudo-modernism" are lingering and deepening in the early 1980s. When Liu Suola was called "real modernist novel" by some people and You have no choice, Can Xue pushed irrational surrealism to the extreme and began to play a "narrative trap", and the concept of modernism was completely legalized and normalized. It has become "a tradition of China's new literature". [ 13]
[1] Kalinescu's Five Faces of Modernity, pp. 77-79, translated by Gu Aibin, Commercial Press, 2002.
[2] Peter Faulkner's Modernism, p. 5, translated by Fu Lijun, Kunlun Press, 1989.
[3] The Complete Works of Mao Dun, Volume 18, Page 44, People's Publishing House, 1989.
[4] Tian Han's "New Romanticism and Others" and "Young China People" Volume I, Phase I.
[5][ 13] Zhu Shoutong's History of Modernist Literature in China Volume I, Page 1 16, Page 2, Jiangsu Education Press, 1998.
[6] Lu Xun's "Cai Ji Ge", "Leader" and "Complete Works of Lu Xun" Volume III, pp. 476-438 +0-472 People's Literature Publishing House 65-438+0998)
[7] "Modern" Volume 4No. 1.
[8] Shen Qiyu's "What is New Romanticism" and "Literary Questions" Life Bookstore 1935 Edition [9]
[10] Yuan Kejia's Introduction to European and American Modernist Literature, p. 95, Shanghai Literature and Art Publishing House, 1993.
[9] Sun Zuoyun's "On Modernist Poetry" and "Tsinghua Weekly" Volume 4311May 935 15.
[1 1] Modern Poetry 1956 February 13.
[12] Xu Chi's "Modernization and Modernism" and "Arguments on Western Modernist Literature" on page 399, People's Literature Publishing House, 1984.
As a pioneer architect in the 20th century, Irene Gray (1879- 1976) has made outstanding contributions to modern furniture design. Eileen Gray was born in a wealthy artistic family in Ireland. Since childhood, she has shown a strong personality and tenacious persistence in her favorite things. Gray entered the local art school to study painting at the age of 19, and moved to Paris with his family four years later to continue studying painting. Greer soon became interested in lacquer art in Paris. Under the guidance of several famous painters, especially the superb skills of a painter who went to France for a daily newspaper had a great influence on her. Greer quickly mastered the basic techniques of lacquer art and later became one of the first generation of modern lacquer artists. In recent years, the collection market has shown extraordinary enthusiasm for Greer's early lacquer works. While making lacquerware works, Greer taught himself almost completely, and often interacted with the pioneers of contemporary design movements such as Corbusier, and eventually became a very outstanding furniture designer. During World War I, Greer spent most of his time in London, and 19 18 returned to Paris. From 19 19, Greer's design field expanded to interior, and he opened his own exhibition hall at 1922. In the same year, he got in touch with the Dutch "de stijl" art design group. From 1923, Greer's furniture and interior design were awarded by famous Dutch architects J.J.P.oud and Bao. After that, Greer extended her design field to architectural design and soon became an excellent female architect. She exhibited her furniture design and architectural design works at the Paris Architectural Exhibition hosted by Corbusier in 1937, which caused a sensation, especially her elegant and unique furniture works became the landmark works in the history of modern furniture design. Greer's furniture design almost completely abandons historical factors and becomes a strong signal to convey modern furniture design. He firmly believes that the design of the machine age should have a new look. The two folding chairs with unique faces that she designed in the 1920s have nothing to do with all historical precedents, and they are completely independent thinking innovations. Like most modern designers at that time, many of Greer's furniture were specially designed for other people's modern architectural space.
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