What impact does Chinese design have on world design history?

Answer questions concisely and directly.

That is, Chinese art basically had no impact on European design in the 19th century.

First of all, there is no separation between fine art and decoreta art in Chinese art, which is the prelude to the emergence of design.

Japanese art has blazed this path alone.

Secondly, in Europe in the 19th century, Chinese handicrafts had been popular in Europe for centuries and could not keep up with the development of European art and entered into decline. Japanese art was in line with this process and was therefore favored by Europe.

This is a very good topic, but the angle is very good.

Generally speaking, when discussing the influence and exchange of Japanese art on Europe, most of the focus is on the level of fine art, such as Impressionism, which has been criticized.

However, it is a relatively rare angle to explore the influence of the East on the West from the perspective of design.

The meaning of design itself is very broad, and according to the problem description, we can clearly grasp the scope of this topic.

Arts and crafts movement, Art nouveau, Art deco, these art movements all point to the eve of the birth of modern design. These activities themselves reflect that they are in the transitional stage before the emergence of decorative arts (decoreta arts) and modern design.

This stage lasted from the end of the 19th century to the beginning of the 20th century, ending with the birth of the Deutsche Werkbund and the emergence of Russian Constructivism.

The goal of these activities itself is a response of art to industrial society.

It was an exploration before machine products flooded the society but had yet to find its own style. The fundamental purpose was to bring art into the lives of the emerging middle class and make life more beautiful.

It was at this stage that Japanese arts and crafts clashed with Europe.

This article is divided into three parts to discuss the influence of Japanese art on Europe. The first part briefly introduces the intersection of Arts and crafts movement and Japanese crafts.

The second part briefly introduces how "Japan fever" formed in Europe.

The third part is the focus, analyzing the modernity contained in Japanese arts and crafts, aiming to explain why Japanese art can eventually merge with European arts and crafts, and why China does not.

1. "Design" born out of traditional arts and crafts The evolution of the industrial revolution has separated design from craftsmanship and become an independent link.

Industrial production requires large-scale copying and production through machines, which means that before starting production activities, the style specifications and processes of the products must be determined in advance, so designers and producers are separated into two different links.

When industrial products first entered the market in large quantities, the design process focused more on the realization of functions and how to meet the needs of mass production. Industrial products had not yet found their own design style.

The lack of "industrial beauty" made industrial products at that time synonymous with inferiority and cheapness.

Chair No.14 1853 by Michael Thonet is the most famous machine-made chair.

This simple style was not yet accepted at the time.

At the same time, as the machine industry replaced handicraftsmen, a large number of traditional craftsmen were unable to compete with cheap industrial products and fell into decline.

Moreover, with the rise of the bourgeoisie, traditional craftsmen who had been supported by the aristocracy in the past lost power, causing their service targets to shift to the emerging middle class.

This means that the traditional aristocratic aesthetic taste is no longer popular, and seeking a new decorative style has become an inevitable demand.

Under this trend, the Arts and crafts movement emerged.

On the one hand, they are disgusted with the crudeness of industrial products, and on the other hand, they are disgusted with the pretentiousness of "Victorian style".

How to cope with the aesthetic needs of the new era has become a major issue.

The popularity of the Arts and Crafts movement was deeply influenced by the aestheticism of the time.

This trend of thought emphasizes “art for art’s sake”.

Art no longer has the function of moral education and is no longer a religious mantle. Art does not need to have thoughts. It is enough to focus on the pleasure brought by color, shape, and lines.

Under the influence of this trend of thought, the exploration of pure formal beauty emerged in Europe.

This change can be said to be a sign that traditional design is moving towards modernity. Decorative art can be separated from "fine art" and become an independent field.

From this, all materials that can provide nourishment for decorative art have been continuously excavated, from the Gothic Revival to the decorative patterns of Islamic art to Japanese arts and crafts.

Furniture that absorbed Japanese elements during the Arts and Crafts Movement E. W. Godwin - Japanese style sideboard, c. 1867 This change provided the possibility for Japanese art to influence Europe. As a result, the modern elements in Japanese art were gradually discovered by Europeans, and closely related to the development of modern art.

processes merge.