Traditional Chinese culture in modern Product Design

This paper describes the sources and features of traditional Chinese culture. It also discusses the aesthetic thoughts of Chinese traditional culture. Chinese traditional culture has been illustrated broad and far-reaching impact on design since ancient time. In the context of globalization and the rapid development of science and technology, the difference between traditional design and modern product design should be explored. Chinese traditional culture cannot be totally absorbed. It is important to inherit the traditional culture with critical thinking. There is a need of explanation for the relationship between traditional Chinese culture and modern product design. On this basis, the article will elaborate how traditional Chinese culture can be applied to modern product design and how Chinese traditional culture can be inherited and carried forward in modern product design. Further explore how to integrate Eastern and Western culture, and promote the development of modern product design

The Study of Reciprocal Impact between Dehua and European Porcelain: An Analysis of the Influence on Porcelain Making Skills, Shapes, and Decoration Styles

The present study investigates the reciprocal impact between the Dehua porcelain and European porcelain, and possible aesthetics in monochrome by exploring the history and significance of Dehua porcelain in relation to its connection with European porcelain. The article discusses the origins and evolution of Dehua porcelain, including its characteristics, kilns, and exportation to other parts of the world, particularly Europe. It also analyzes the influence of Dehua porcelain on the creation and development of European porcelain, from the Rouen, to Meissen, S.Cloud, and Chelsea company and Sèvres company porcelain. The article alsoexamines the impact of European merchants on the westernization of Dehua porcelain, as well as the existence of universal aesthetics in monochrome. However, the study acknowledges possible limitations due to the lack of literature and access to data, which could affect the conclusions of the research

Uniquely Korea: Retaining Visual Authenticity in Cultural Presentations

As educators and creators seek to introduce students to cultures from around the world to increase cultural awareness, visual media has also become a powerful tool to disseminate the visual culture of a people. When media misrepresents a culture, the introduction to the culture can be flawed and create more problems. How then can media creators ensure that their representations are accurate? This project proposes that careful research balanced with an observation of the culture’s visual presentations can help guide cultural representations toward authenticity. This research specifically explores the problem of misrepresenting traditional Korean culture in American media. The generalization of East Asian cultures in American media caused by both past events and current events has lead to a distorted view of Korea. However, good representations of traditional Korean culture can help eliminate these stereotypes and generalizations by demonstrating the uniqueness and richness of Korean culture. Through research of traditional Korean cultural elements like hanbok, hanshik, architecture, Hangul, and pottery as well as visual observations of Korean visual media, this study aims to demonstrate the importance of viewing cultural objects in context and through the eyes of the members of the culture. Because the misrepresentation of Korean culture stems in part from limited American education on historical Korea, the end goal of this research project was to create an illustrated book for American elementary school children that will introduce them to an authentic and informative representation of historical Korea. The book’s visuals were created based on a combination of research and observation of cultural artifacts and visual presentations in drama, animation, illustration, and historical reenactments

The trajectory of modern ceramic scholarship: Okuda Seiichi's ceramic appreciation in the Taishō period, 1912 – 1926

My dissertation investigates the connection between hobby (shumi), aesthetic appreciation (kanshō), and the imagining of Japan-centered “oriental ceramics” (tōyō tōji) in Okuda Seiichi’s thought during the period of rapid modernization and aesthetic nationalism that accompanied Japanese imperialist expansion. The main task of this study is to highlight and analyze the role of Okuda Seiichi (1883-1955) in presiding over modern ceramic scholarship. It seeks to understand the peculiarities of Taishō-period society (1912 – 1926) that catalyzed the emergence of ceramic hobby and appreciation, especially among a circle of Japanese business, intellectual, and cultural leaders. This cultural climate encouraged the gradual formation of the study of ceramic history as an academic discipline and ceramic hobby began to reconfigure and merge with scholarly activities through groups such as Tōjiki kenkyūkai (Ceramic Studies Society, founded 1914), the Saikokai (Colored Jar Society, 1916), and Tōyō tōji kenkyūjo (The Institute of Oriental Ceramics, 1924). Okuda played an instrumental role in the establishment of professionalism in ceramic study and cultivated the notion of ceramic appreciation by claiming superiority for Japanese aesthetic discrimination. My dissertation illuminates the ways in which the notions advanced by Okuda to define ceramic hobby and appreciation indicate Japan’s acceptance of Western “fine arts” and aesthetic canons, which privileged painting and sculpture. While the complexity of Okuda’s ideas can be understood as part of the broader intellectual concern of Japan’s art history, his most significant efforts can be found in highlighting not only artistic qualities but also the conceptual and technical supremacy of ceramics. The dissertation also investigates how Okuda established an historical narrative for Asian ceramics in which Japan could compare its tradition with the West and assert its unique role in a unitary Asian civilization. In rivalry with the West’s advancement of Asian ceramic studies, Okuda stressed his unique, historically conditioned role as a leader in the field, while involving his works in a dialogue with Western scholars. By contextualizing Okuda’s evolving thoughts within the intellectual currents of his time, this dissertation sheds new light on the origin of the study of ceramic history in the Taishō period, when the idea of ceramic appreciation underwent a pivotal redefinition

Flora and Fauna in East Asian Art

Flora and Fauna in East Asian Art is the fourth annual exhibition curated by students enrolled in the Art History Methods course. This exhibition highlights the academic achievements of six student curators: Samantha Frisoli ’18, Daniella Snyder ’18, Gabriella Bucci ’19, Melissa Casale ’19, Keira Koch ’19, and Paige Deschapelles ’20. The selection of artworks in this exhibition considers how East Asian artists portrayed similar subjects of flora and fauna in different media including painting, prints, embroidery, jade, and porcelain. This exhibition intends to reveal the hidden meanings behind various representations of flora and fauna in East Asian art by examining the iconography, cultural context, aesthetic and function of each object.https://cupola.gettysburg.edu/artcatalogs/1025/thumbnail.jp

Thematic Manifestations: an Aesthetic Journey.

This thesis, in support of the Master of Fine Arts exhibition entitled Thematic Manifestations at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 2-12, 2004, describes in detail three aesthetic themes that are manifested in the work exhibited. The artist discusses his journey in establishing a “criterion of aesthetic values” whereby his work is conceptually developed. The three themes – The Paradox of Simplicity, The Decorative Power of Nature and The Beauty of the Irregular – are founded on historical and contemporary influences and are further described in practical application of form and process

The Influence of Zen on Contemporary Aesthetics in Decorative Arts and Interior Design

This paper aims to explore a select number of Zen concepts which form the basis of the teachings of Zen Buddhism since its introduction to Japan in the seventh century, and highlight their continued influence on contemporary aesthetics in the decorative arts and design in Japan and elsewhere. These Japanese aesthetic concepts, developed over the centuries, take their cues from the sensitivity to and appreciation of the ephemerality of life and nature, and the popularity of the ritual of the Tea Ceremony, which has been aligned with Zen Buddhism early on. These ideals of beauty have gone beyond religion and spirituality, and have been woven into the very fabric of daily life of the Japanese. Some of the concepts of Zen may be familiar to Euro-American audiences, yet a reevaluation of their influence on design and theories of beauty, and a review of design objects and interiors of the twenty-first century that illustrate Zen aesthetics is timely. Zen may have become a byword for minimalism and tranquillity, however it offers much more depth than just a veneer of simplicity and purity. Zen is a pursuit of spirituality, aesthetic expressions and designs of Zen principles within our homes can remind us to appreciate the fleeting nature of life, and may elevate not just the beauty of our homes, but also our minds

Experimental Practices

In my paper I investigate the experimental nature of my multidisciplinary practice through theory and visual stimulus. I look at the image as a basis for aesthetic, emotional, and philosophical investigation; grounding my research in practice, contemporary photographic theory, ancient philosophy and modern physics. I look at developments in my installational practice in terms of Minimalist and Institutional concerns and performance installation in regards to Relational Aesthetics; this analysis of both the medium and context of the work leading to new strategies in exhibition practice. The grounding of theory in practice has over the course of my Masters project led to a new conception of my work as a series of exercises in medium reflexive practice. This paper outlines medium reflexivity and how this concept has shaped the work I have developed for my final examination as an experimental exhibition

Exploration of Hotel Interior Design Methods Based on Regional Culture—Chaoshan Cultural Hotel as an Example

In recent years, Chaoshan culture is a popular object of research for many scholars in recent years, and there are many research points worth digging. As an open space, hotels have very notable regional qualities, and with the development of domestic hotel interior design, various regional cultural hotels have emerged in front of the world. Based on the perspective of regional culture, by analyzing the basic attributes of hotel interior design, this paper explores the gene of regional culture in Chaoshan region, and discusses the application of regional culture in hotel interior design

Into surface

This master’s thesis explores the everyday aesthetics of a vessel in terms of Applied Arts by studying context rather than seeking an appearance. The initial idea was the exploration of lacquer material and the relevant surface treatment that is inspired by the love of nature, providing a subjective visual experience, while retaining the functional ceramic vessel. As the material experiment developed, it raised another question of how lacquer ware, from a perspective of traditional folk crafts, which is considered time-consuming and labor intensive, could evoke a genuine beauty and sincere worship . This thesis could be divided into two components, firstly as research for gaining fundamental knowledge in developing and supporting ideas for the design work and secondly the practical production of the design work. Through a subjective contemplation of the theme, inspirations such as modernism, Mingei theory and aesthetic Song wares were analyzed. Different thoughts worked together with my approach and centralized on one concrete idea, lacquer surface treatment applied to a ceramic tea set. As a result, the tea set is functionally inspired by Traditional Chinese Kongfu tea set but visually presented in a modern aesthetic way