Cultural recoding of the Bauhaus text in the Chinese semiosphere

Abstract

The paper attempts to consider the Bauhaus pedagogical model as a cultural text subjected to semiotic reworking during its translation into the Chinese educational space. The methodological basis comprises Yu. M. Lotman’s concept of cultural translation, A. D. Smirnov’s model of globalization as heterogenization, and D. Miller’s ontological approach to material culture. Through a comparative analysis of the methodologies of Itten, Albers, and the Chinese adaptation of the "three pillars of composition", the study traces which specific signs of the Weimar model underwent recoding, which meanings were lost in the recipient culture, and which were acquired. Particular attention is paid to the transformation of the categories of "craftsmanship", "materiality", and "authorship" under the conditions of the digital platform economy. It is proposed to understand the Bauhaus legacy not as a pedagogical canon, but as a cultural precedent demonstrating the mechanisms of adaptation of universalist projects in local semiospheres.