The Grammar of Ornament: Cosmopolitanism and Reform in British Design
The Grammar of Ornament: Cosmopolitanism and Reform in British Design
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装饰语法：英国设计的世界主义与改革
DOI：
10.1093/jdh/epn025
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发表时间：
2008
影响因子：
0.2
通讯作者：
S. Sloboda
中科院分区：
文献类型：
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作者：
S. Sloboda
在1851年的万国博览会上，英国设计师在大量证据面前哑口无言，这些证据表明世界上几乎每个国家都拥有比维多利亚时期的英国更连贯、更具文化融合性的设计风格。英国改革者的一种应对方式是基于对国际和历史装饰的研究创造一种现代设计语言。这一努力最重要的成果之一是东方学学者兼建筑师欧文·琼斯1856年出版的《装饰的语法》。该书包含100幅令人眼花缭乱的彩色石印图版，展示了来自世界各地的多种图案范例，以及一系列“命题”，这些命题在“自然”这一统一术语下编纂了通用的设计原则。本文认为，《装饰的语法》是一部明确的世界主义文本，它试图通过通用的设计原则来综合这一时期的工业和帝国精神。从世界主义的角度理解琼斯的作品以及更广泛的设计改革运动，可以更丰富地认识到在维多利亚中期英国的工业和帝国设计文化中风格影响和技艺掌握之间复杂的相互作用。
At the Great Exhibition in 1851, British designers were rendered mute in the face of overwhelming evidence that nearly every country in the world had a more coherent and culturally integrated style of design than that of Victorian Britain. One response by reformers in Britain was to create a modern language of design based on studies of international and historical ornament. Among the most important results of this effort was the orientalist scholar and architect Owen Jones’ 1856 publication, The Grammar of Ornament. The book contained 100 dazzling chromolithograph plates of multiple examples of patterns from around the world and a series of ‘Propositions’ that codified universal principles of design under the unifying term of ‘nature’. This article contends that The Grammar of Ornament was an explicitly cosmopolitan text that attempted to synthesize the industrial and imperial ethos of the period through universal principles of design. Understanding Jones’ work, and the design reform movement more broadly, in terms of cosmopolitanism offers a richer awareness of the complex interplay of stylistic influence and mastery at work in the industrial and imperial design culture of mid-Victorian Britain.