BAUHAUS IN THE CONTEXT OF THE SINO-JAPANESE ARTISTIC PARADIGM

Abstract

The purpose of the article is to highlight pedagogical and creative practice of the Bauhaus architectural and design school in the context of oriental cultural and artistic practices. Research methods are determined by the purpose and specificity of researched materials. The author used general scientific methods of systematization, comparison, survey, photofixation as well as special methods and techniques of formal, functional, figurative and stylistic analysis. The results of the work: parallels between Chinese and Japanese artistic phenomena and program tasks, artistic principles and approaches declared by the school (Japanese architecture, Noh theatrical practice, origami, tea ceremony; Chinese tradition of calligraphy and monochrome ink painting) were identified. The degree of study of orientalism problem in design and the prospects for its further research are outlined. It was established that, rejecting the Western academic tradition, teachers -reformers turned to artistic traditions of the East. It is shown that in Eastern (Chinese and Japanese) practices, the principles and approaches relevant to representatives of the School were distinguished. These principles and approaches include going beyond the established boundaries, development of imaginative thinking, search for simple and expressive solutions, minimalism, study of material and its properties, functionality at a high level of artistry and technological effectiveness. Practical significance of the results obtained lies in the possibility of their extrapolation to modern design pedagogical and creative practices in order to understand and use the Bauhaus experience in adaptation and translation of oriental artistic principles and approaches.