Comment on “Integrating traditional Chinese patterns into modern aesthetics: a rooted theory study based on Pang Xunqin’s ‘Chinese Pattern Collection’”Tian, Liu and Lu (2024) analyze Mr. Pang Xunqin’s Chinese decorative patterns. It relies on his main works to discuss the strategies of cultural identity and artistic expression in design across different periods. However, the academic value and status of Mr. Pang Xunqin are not introduced in detail. Firstly, Pang Xunqin (1906-1985) was a pioneer of the modern art movement in 20th-century China and a founder of modern art design education in China. He studied in France, learning modernist painting, and after returning to China, he alternated between decorative style painting and work in crafts education.Pang Xunqin made many significant contributions in history. He was the founder and main creator of the most radical modernist art group in modern China - the “Juelan Society.” He established the first national-level arts and crafts college in China - the Central Academy of Arts and Crafts (now the Tsinghua Academy of Fine Arts), and he was among the first to collect and organize traditional Chinese decorative patterns and ethnic folk art materials from a modern spirit and aesthetic perspective. He explored and researched the spirit and interests of traditional Chinese painting art through the theoretical lens of Western modern art, attempting to find a suitable path for the development of modern Chinese art.
In 20th-century China, there were drastic changes. Pang Xunqin’s artistic theory and practice reflect his active exploration of the modern forms of Chinese art. Furthermore, the overview of research on Pang Xunqin has not received adequate attention. This article categorizes the research from three perspectives: ethnicity, modernity, and artistic thought, which is the most fundamental work in the early stages of research. To gain a comprehensive understanding of the current research on Pang Xunqin, it is essential.
Research on Pang Xunqin is divided; some focus on his modern art ideas, while others concentrate on his arts and crafts concepts. The artistic activities engaged in by Pang Xunqin can generally be divided into three main areas: first, modernist painting; second, research on traditional Chinese decorative painting; and third, arts and crafts education (Ping, 2017). Our understanding of painting, decorative painting, and arts and crafts is not closely related. Modernist painting and decorative painting are primarily flat, but the former is characterized by self-discipline and self-sufficiency, while the latter emphasizes practicality. Arts and crafts differ from the first two, expressing more in three-dimensional forms and requiring consideration of materials, craftsmanship. However, Pang Xunqin has made groundbreaking achievements in these three fields during his lifetime, albeit in an individualistic manner. Reviewing this from a literal perspective, Tian et al. (2024) only categorized these three aspects and introduced the research contents of relevant scholars. However, Tian et al. (2024) does not mention what foundational knowledge or research insights the current studies provide for our article. Learning from the research content and methodologies of predecessors is necessary, but their inspirations are even more important.
Regarding the research method of this article, Tian et al. (2024) claim “This paper employs the grounded theory approach to conduct qualitative tests on the text, aiming to establish a theoretical framework for integrating traditional Chinese patterns into contemporary decorative art and provide research ideas. The method used here is the qualitative approach. However, it is very important that the method is suitable for the research content, and Tian et al. (2024) did not explain the value of this research method for the study. First, the introduction of this method is presented in the article with a flowchart, but the specific content and process of this method are not clearly explained. Second, I suggest that Tian et al. (2024) clarify why this method is used to analyze the works of Mr. Pang Xunqin and articulate the suitability and rationality of this method.
The main part of the article is how to use this method for analysis. The data was gathered from various sources. Keywords were employed to locate relevant literature. The selection process centered on the relevance of the materials to the topic. In the end, 41 papers were identified for the open-coding phase.
This kind of analysis relies on a wealth of literature and uses software to extract keywords. However, it will be expressed differently in different contexts. For example, “emotion”, “national culture,” and “decorative art” will express different meanings in different contexts. The definition of “decorative art” varies across different contexts. Decorative art contains many art categories. Tian et al. (2024) found the key sentences in the text.can decorative painting in China represent this decorative art? Pang Xunqin holds a relatively broad view on decorative art. His artistic activities can generally be divided into three main areas: modernist painting, research on traditional Chinese decorative painting, and arts and crafts education. A disconnect between these three areas. While modernist painting and decorative painting are primarily two-dimensional, the former is characterized by autonomy and self-sufficiency, while the latter emphasizes practicality. Arts and crafts, in contrast, express three-dimensional forms, incorporating factors such as materials and craft techniques. However, Pang Xunqin, individually, has achieved groundbreaking achievements in each field. Although his artistic life has always been characterized by two primary roles: painter and arts and crafts educator, the commonality of decorativeness permeates both, a crucial factor in Pang Xunqin’s seamless exploration and reflection across these two fields (Ping, 2019, p. 134).
In addition, regarding Pang Xunqin’s thoughts on the integration of Chinese and Western art, it does not introduce how he integrated the characteristics of Western art into Chinese art. “As an advocate of modernist art, Pang urged painters to cultivate a distinct ‘self”. He employed to reevaluate traditional motifs, imbuing them with novel significance and incorporating modern Western painting ideas and modes of expression. Tian et al. (2024) can use the expression of their work to support their viewpoint. During Pang Xunqin’s period of studying painting in Paris (1925-1930), Western modern art had already undergone significant development within various schools. Bauhaus and Surrealism were in full swing. Pang Xunqin experimented with various expressive techniques, but he did not single out. Pang Xunqin’s attempts at a modern transformation of Chinese art were more about drawing on the concepts and methods of Western modernist art than appropriating its forms (Ping, 2017, p. 157).
Against the backdrop of Pang Xunqin made his own value judgments on the development trends of art and design. He was aware of the influence of Chinese elements in Western modern art and design, and recognized that modernity recognizes national diversity. Therefore, Pang Xunqin’s understanding and positioning of Chinese modern art and design are not a one-way, rapid borrowing, digestion, and absorption of Western modernist style, but rather a modern re-creation that respecting the development logic of traditional national culture.
Reference
- PING, F. A. Study of the Decorative Arts of Pang Xunqin in the Context of Modernity. Journal of Nanjing University of the Arts (Fine Arts and Design Edition), v. 5, n, 3, p. 155-165, 2017.
- PING, F. The Construction of Pang Xunqin’s Modern Art Concept and Its Contemporary Significance. Art Hundreds, v. 35, n. 1, p. 121-127, 2019.
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TIAN, X.; LIU, X. D.; LU, C. Integrating traditional Chinese patterns into modern aesthetics: a rooted theory study based on Pang Xunqin’s “Chinese Pattern Collection”. Trans/Form/Ação: Unesp journal of philosophy, Marília, SP, v. 47, n. 5, p. e02400281, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15956
» https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15956
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Data availability statement: The dataset for this article is available in the SciELO Dataverse of the Trans/Form/Ação Journal, at the link: https://doi.org/10.1590/0101-3173.2025.v48.n5.e025198
Data availability statement: The dataset for this article is available in the SciELO Dataverse of the Trans/Form/Ação Journal, at the link: https://doi.org/10.1590/0101-3173.2025.v48.n5.e025198
