Regional Traits and Mobility of the Design Culture in Ancient China and the starting point for design education in contemporary China

Abstract

I Regional design culture as a result of integrating multiple sources of design culture

Regional traits of design culture in ancient China was built on the basis of multiple sources of contributing factors such as diverse natural conditions, various modes of production and a plurality of colourful lifestyles.

The middle reaches of the Yellow River, the north and south of the Yanshan region, the eastern coastal areas, the middle reaches of the Yangtze River and the downstream region of the Yellow River each displayed distinctive characteristics that contributed to the design culture in ancient China.

I.I Formation and evolution of the pluralistic yet holistic design culture with the Han culture at its core

During the Warring States period, regional cultures underwent integration. In the end, The First Emperor Qin established an unprecedented unified empire. Later on, Liu Bang established the Han Dynasty, which laid the foundation for the ethnic Han people bonded by the Han culture.

Ancient design culture of the Han culture exhibits certain sustaining characteristics: 1. Chinese characters were used as the main communications tool; 2. Confucianism, Buddhism, and Taoism complemented one another in design philosophy; 3. Urban planning featured Palace Houses, Places of Worship, streets and marketplaces in a flat checkerboard style layout; 4. Buildings adopted predominantly wood frame based architectural styles; 5. Draperies, curtains, and screens were frequently installed as combination furnishings; 6. Eating utensils such as bowls, plates, pots and cups were usually made of porcelain; 7. Jade accessories served as the principal items of decorations; 8. Literati art and folk art reinforced each other in arts and crafts; 9. Loose apparel was commonly worn by the upper class, who observed rituals and practiced re-refined manners; 10. Transportation vehicles such as sedans and boats carried hierarchical markings.

Over the different historical periods, the Han culture centred in the interior of China interacted with a plurality of cultures practiced by a vast variety of ethnic peoples living in the surrounding regions. By absorbing exotic cultures throughout its long history of development, a pluralistic yet holistic design culture with the Han culture at its core came into being.

1.2 Rise and fall of major urban centres along transportation arteries vis-à-vis mobility of design culture

In the pre-Qin period, rivers functioned as the main transportation linkage for people residing in different regions. Little wonder that early Chinese cities were mostly built on the riverbanks.

With the opening of the Silk Road, exchanges on a massive scale came to pass between the East and the West of ancient times.

Emperor Yang of the Sui Dynasty ordered the construction of the Grand Canal, which strengthened contacts and exchanges between north and south China. Prosperous commercial centres emerged along the canal route, shifting the economic centre of gravity gradually from the north to the south.

Since the Sui Dynasty, there was a gradual expansion of maritime traffic, giving rise to a series of important ports along the coast. After the Qing Dynasty lost the Opium War, coastal areas transformed themselves into start-up places for Qing government-run enterprises and new businesses operated by the nationalistic bourgeoisie. Shanghai gradually emerged as the first metropolis of the Orient, which also became the breeding centre for China's modern design culture.

I.III The starting point for design education in contemporary China

In the past 100 years or so, the Chinese design culture has experienced the evolution and transformation from the classical to the modern. Development of design education in contemporary China is linked to that of the outside world. Inside China, Chinese design culture is pluralistic yet holistic, absorbing foreign cultures through various channels. In terms of internal and external strategies, Chinese design culture would be well advised to promote "harmony without uniformity". "Harmony without uniformity" underlines why Chinese design culture has survived and prospered. It should therefore serve as the starting point for our design education.

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Notes on contributors

Zhang Peng Chuan

Mr. Zhang Peng Chuan

Professor and Ph.D supervisor of Soochow University; Curator of Soochow University Museum; Director, Institute of Art Design, Soochow University; Director of Academic Committee, Chinese Arts and Crafts Institute; Project Leader of the archaeological work at Qin'an Dadi Bay Archaeological Excavation Site. More than a dozen major academic publications, which include: “Chinese Painted Pottery Patterns”; “Up And Down the Huangtu Plateau—Selected Readings in Arts and Archeology”.