Song Dynasty Aesthetics. Origins of the New Chinese Furniture Design Style

Abstract

Summary： In the article, the authors analyse the primary problems which arose during the design product development in the field of industrial furniture production during the period from the beginning of the 20th century, including during the opening of China, to the present. The vector of the furniture industry development is studied through the industrial design evolution. The reasons for the emergence of a new style in furniture design in China, analysed in detail in connection with changes in economic and cultural realities, are studied. The question of the influence of the Song dynasty aesthetics on the formation and development of a "new language" in furniture design is touched upon. This dynasty’s cultural heritage formed the basis of the new style in design not only in terms of appearance, shape and structure but also in a deeper understanding of the principles of constructing form and meaning inherent in traditional Chinese culture. As an important part of the ancient culture of China, the Song Dynasty aesthetics is an invaluable spiritual national heritage of the entire nation, which is fully reflected in the revival of mass interest in national culture in the field of technical aesthetics and industrial production. Compared to Russia, the modern model of design development is completely different. Design in Russia largely follows the development vector laid down within the framework of the Soviet Union's “technical aesthetics” and still largely meets the needs of the industry (of course, with the necessary adjustment for time). In Russian history, the formation of the profession of a designer coincided with two revolutions: a political revolution that led to a change in social attitudes, and an artistic revolution that began before the first and continued after it, while Chinese modern design did not seem to have experienced such significant perturbations. However, it seems that the concept of the New style of design in China and the concept of Russian modern design, based on the experience of the Soviet period, rely on traditions, actively incorporate innovations and strive to find a unique path that best suits the development vector of each of the countries.