An Duo

The subject of this article is the Chinese-born American architect Yo Ming Pei's the creative programme. It is believed that in the unique objects of Pei, which were built in China in the 1980–2010s, a full-fledged synthesis of architectural forming authentic Chinese and Western modernist principles was carried out for the first time. The aim of this article is to reveal the problems of this synthesis in the Maestro work.

Pei's creative programme as an interplay of professional and attitudinal factors is reconstructed using examples of Chinese objects through cultural-historical, artistic-stylistic, semiotic and formal-stylistic analysis, as well as through the systematisation of professional criticism and scholarly research.

In the process of achieving the aim, the following conclusions were drawn. Firstly, the conclusion about the formation of a consolidated viewpoint on the compatibility of orientations and values of Western modernism and the Chinese architecture unshakable traditions, which, in turn, are elevated to the paradigms of Confucianism, Taoism, Buddhism. Secondly, the conclusion of the four main factors the interrelationship in Pei's creative programme. Thirdly, the conclusion about the stylistic synthesis of national and international traditions of formation as a neo-romantic adaptation of modernism in China in the XXI century.

The article studies the processes through which modernism was penetrating static Chinese architecture from the second half of the 19th century to the mid-20th century. The process is viewed as a phenomenon foreshadowing the unprecedented economic and cultural leap of the PRC observed in the late 20th century. The study examines two stages of the intensification of modernist trends, which acquired new qualities of development during the socialist period. The first stage (from the second half of the 19th to the early 20th century) is characterized by adopting historicism, eclecticism, and Art Nouveau. These styles were used, on the one hand, to address the urgent problems of early urbanization and, on the other, to synchronize China with the pace of world history. It turned out that images of bygone eras, embodied in the forms of foreign architecture, helped to make sense of China's own present and stimulated the modeling of a promising future.

The second step — the Republican stage (1913–1949) — corresponds to the advancement of the Chinese vector of Eastern Art Deco, driven by both local and foreign architects. Chinese society's conviction in the perfection and completeness of its own architectural art ensured the vital necessity of its systematic renewal. In academic circles, as well as among professionals and general public, the awareness grew of the advisability of introducing Western experience into architectural practice, and the possibility of synthesizing this experience with the unique legacy of authentic Chinese architecture.