包豪斯与日本设计教育的相互影响

Bauhaus and Japan:Entanglements of Mutual Impact

包豪斯教学方法之影响远在德国之外。直到1933年包豪斯关停,一种日式的感性始终贯穿其中。文章通过分析两次世界大战之间德国和日本设计教育的相互影响,以揭示当时日本和欧洲紧密交织的关联网络。日本的艺术史写作绵密地勾勒了包豪斯在20世纪20～30年代复杂的历史与自相矛盾的思想。仲田定之助和水谷武彦于1927年4月至1929年4月求学于德绍包豪斯,他们的写作中展现了这一旨趣。仲田深具影响力的文章《包豪斯城邦》发表于Mizue艺术杂志,他在其中引用了瓦尔特·格罗皮乌斯这位倡导艺术和技术合一的校长的话,用"综合的艺术"来描述包豪斯^([1])。这一综合方法是建筑师川喜田炼七郎创造性活动和教学的特征,忠于包豪斯最初的艺术与设计教学模型,保持了综合的本质。

The impact of the Bauhaus teaching methods reached far beyond Germany. Conversely,throughout its existence, a Japanese sensibility permeated the Bauhaus until its closure in 1933. This article analyzes the reciprocal impact of German and Japanese design education in the interbellum period in order to shed new light on the tightly knit network of associations then connecting Japan and Europe. Art writing in Japan mapped very closely the complex histories and often contradictory ideas of the Bauhaus during the 1920 s and 1930 s. This interest and curiosity are demonstrated in the writings of Sadanosuke Nakada(1888-1970) and Takehiko Mizutani(1898-1969), both of who studied at the Bauhaus Dessau from April 1927 to April 1929. In his influential article ’The State Bauhaus’ printed in Mizue art journal, Nakada quoted Walter Gropius, who advocated the merging of art and technology-the ’synthetic art’ at the Bauhaus.This synthetic approach was characteristic of the energetic activities of architect Renshichirō Kawakita(1902-1975) and his pedagogy, which adhered to the original Bauhaus models of teaching art and design while remaining synthetic in nature.