Power, Track, Characteristics

China was in the great period of making the transition of the culture, education, science and technology and political economic system reforms in the early 20th century period spanning the Late Qing Dynasty and the Republic of China. The developments of industry and commerce made industrial and commercial enterprises increasing the demands for the talents of architectural design and commercial art design including advertising, packaging, trademarks and other aspects. The disintegration of authoritarian cultural regime and including the new education on art and design provided a direct and powerful guarantee to ensure the training of new design talent, the patronage provided direct economic support for the development of the design art. The popular culture prompt ed Chinese design art to join the track of the world design art’s development, the establishment of design organization made a driving force for the reform of design art by dots and lines into the power of face. The power of working together of the major internal and external aspects promoted the change of design from traditional to modern art, and its trajectory is complex and diverse. It ranged from the bifurcation, exchange and integration of traditional style and modern design, then, into the initial transition to a modern design, through the other countries those had not experienced reform of short and intense process. The design art obeys the command of the economic levers, and the various exploratory real change was done from the perspective of social needs in the whole reform process. The aesthetic psychology of people has been fully respected, and the traditional " artifacts" concept of people makes the smooth rising of functionalist design in China, made useful try of the theory and practice on the development of modern design art in the late 20th century as well as the early 21st century.This paper attempts to establish a the three-stage development path of Chinese design art and the cross-development path of Chinese and Foreign design in China, and actively explore the role of patron and popular culture on the transformation of Chinese design art, and an extensive collection of positivist approach graphic information in order to make its due contribution on refining the study of transformation design art of China in the early 20th century.