中国近现代设计史分期研究的历史与逻辑

The History and Logic of the Study on the Staging of Modern and Contemporary Chinese History of Design

中国近现代设计史的分期研究是中国设计史研究走向深入和专业化的必然要求。通过历史与逻辑的辨析,中国近现代设计史分期有3个重要思考维度:通史与专门史的分期差异、“中国中心论”与学科本体论以及近代建筑与现代建筑的非对立关系。中国近、现代设计史分期的3个基本设想为:一是以1956年成立的中央工艺美术学院作为中国现代设计史的开端,二是将1949年之前的设计史作为近代设计史,1949年后则为中国现代设计史,三是将近代设计史、近现代设计史、现代设计史划分为3个分别独立的阶段。中国近现代设计史的分期可为其研究走向更加清晰、精准、深入提供参考框架。

Study on the staging of modern and contemporary Chinese history of design is necessary for a deeper and professional study on Chinese history of design. Through historical and logical discussion, there are three important thinking dimensions in the staging of modern and contemporary Chinese history of design: the difference of staging between general history and specialized history, the non-opposite relationships between “China-centric ideology” and subject ontological ideology, as well as modern architecture and contemporary architecture. There are three basic assumptions for the staging of modern and contemporary Chinese history of design: firstly, 1956 is regarded as the starting point of Chinese modern design when Central Academy of Art and Design was established;secondly, the history of design before 1949 is regarded as modern history of design and the history afterward is regarded as contemporary history of Chinese design;thirdly, modern, contemporary and present history of design are categorized as three independent stages respectively. The staging of modern and contemporary Chinese history of design will provide reference frame for a clearer, more accurate and deeper study.