중국 근대 도안교육의 도입과 본토화 — ‘실업’에서 ‘인본’으로 —

Abstract

China, which entered the modern era with the Opium War and the unequal treaties, promoted industrialization for survival, but various constraints led to imbalances between the machinery industry and the handicraft industry, design and production, and urban and rural areas. While imbalances also appeared in craft education at art schools, in the early period of the Republic of China, Beijing National College of Art first established a design-centered craft education system based on early industrial education in Japan. However, its educational method, which was promoted with the aim of promoting morality and industrial development without thorough ideological enlightenment, was eventually resisted by the New Culture Movement. On the other hand, Hangzhou National College of Art, which was established during the latter half of the Republic of China, continued its design-oriented system, but introduced a French education system and various modernist trends for a more radical aesthetic education, thereby fervently innovating traditional designs while strengthening the creative, scientific and humanistic values of the designs, and emphasizing practicality and popularity. However, due to a government crackdown and the notion of a hierarchical order centered on fine art, it showed the limitations in its development of active knowledge and technology as practical art. In contrast, in the final days of the Republic of China, cooperative projects and handicraft movements arose against the malady of monopoly capitalism and industrial centralization, which had intensified since the end of the Republic of China. During this, Sichuan Art School also overcame design-centered education by attaching itself to this wave and built the foundation for craft design education in the period of the People