REMEMBERING A PIONEER
An ongoing exhibition at the Tsinghua University Art Museum celebrates Lei Guiyuan, through his manuscripts, drafts, paintings, calligraphic pieces, ceramics and textiles based on his designs. Lin Qi reports.
‘Poetry is about life. So it is with design,” said Lei Gui yuan (190689),the father of Chinese modern design. Lei, who heralded the modernization of Chinese design, founded the country’s first designers group, the Shanghai Industrial Artists Association, in 1934.
Lei, who published several design books based on his study of traditional handicrafts and antiques, also helped establish China’s first modern design school in Chengdu in 1939, the “wartime capital” during the War of Resistance against Japanese Aggression (1937-45).
Now, an ongoing exhibition to show Lei’s achievements is being held at the Tsinghua University Art Museum. On show are dozens of his manuscripts, drafts, paintings, calligraphic pieces, ceramics and textiles based his designs.
The exhibition, Design Life, also marks the 60th anniversary of the founding of Tsinghua University’s Academy of Arts and Design, formerly the Central Academy of Arts and Design, where Lei served as the first deputy head.
Born in an official’s family, Lei was brought up by his grandfather, a former diplomat at the court of the Qing Dynasty (1644-1911), in his ancestral home in Shanghai. At 15, Lei joined his father, who was the director at the library of the Ministry of Foreign Affairs in Beijing.
He later enrolled at the Beiping Fine Art School, now the Central Academy of Fine Arts.
Lei traveled to France in 1929 and lived there for two years, learning about art and craft movements in Europe.
After returning to China, Lei drew inspiration from his cultural roots, and his designs for wall paper and dyed cloth, displayed at the ongoing exhibition, were inspired by the geometric patterns on Neolithic potteries and decorative bricks of the Han Dynasty. He also produced a set of ceramic plates which feature women wearing folk costumes that are typical to different parts of China.
At the same time, he produced a rich palette and dynamic arrangements of patterns that show the influence of Western design.
The exhibition also commemorates his role in producing designs for Beijing’s Ten Architectures of 1950s, including the Great Hall of the People.
His lacquer paintings are also displayed at the show, showcasing his contributions to the modernization of the lacquer tradition in the 1950s.
Lu Xiaobo, exhibition curator, says Lei and his generation witnessed China’s decline in the first half of the 20th century, and they believed that industrial development and art education could save the country.
“That is why he worked to develop dyeing and weaving and graphic, interior and industrial design. Such crossover practices were motivated by a wish to create a suitable lifestyle for his people,” says Lu.
“He believed that whether it about carrying forward traditions or learning from other cultures, designs should first cater to the daily needs.”
Lei’s reform of Chinese design is seen to be like what William Morris (1834-96) did for British arts and crafts. But he did not profit from his work like Morris did.
Lei taught at five schools, including his alma mater, the Beiping Art School, and the Central Academy of Arts and Design.
He wrote in his memoirs that he preferred to broaden students’ vision and guide them to find their own paths, just like a devoted nanny.
Speaking about his legacy, Feng Yuan, director of Tsinghua University Art Museum, says: “Lei often said he was just a teacher. But he acquired a higher status by being an educator and scholar.”
He says maybe Lei’s works are not comparable to pieces that fetch high prices in today’s art market, but he left people something precious — his persistence, academic pursuits and an all-embracing spirit that made his designs not just beautiful, but also practical and suitable for use.
Chang Shana, the former head of the Central Academy of Arts and Design, says Lei often said that design should not overlook people’s practical needs, and it should be in accordance with the current level of development. She adds that it is a pity that his ideas are ignored by many designers today, who often seek to be unusual but forget what people really need.
In conclusion, Feng says, “Time has passed, but our respect for the old master will endure.”