成长中的“新中国主义”:中国当代家具设计的理论创新
|
摘要
中国当代家具设计师大多倾向于表现视觉化的传统元素符号,殊不知传统家具的灵魂存在于功能、结构和形式的综合框架之中,即家具设计中的"中国主义"。在"中国主义"的基础上提出"新中国主义"的本土化创新理论,其目的在于分析传统家具中先进文化的脉络,探讨"中国风"、"新中式家具"等与核心理念的关系,并以当代设计中的"新中国主义"家具为例,详细而深入地论证"新中国主义"的本土化成长经历,及"新中国主义"发展的必要性与前瞻性。
The contemporary furniture designers focus on the visual symbols only ignoring the soul contained in the function,structure and shape of the design.The soul called "Chinesism" is the base of the local and creative theory –"Neo-Chinesism" constructed in this article.The aim is clearing the mass of advanced culture under the traditional furniture,distinguishing the "Chinoiseries","Neo Chinese furniture" and the design core,also taking contemporary "Neo-Chinesism" design for example,lastly depicting the local-growing process of "Neo-Chinesism" to prove its necessary and forward-looking development by detailed and deep analysis.
The contemporary furniture designers focus on the visual symbols only ignoring the soul contained in the function,structure and shape of the design.The soul called "Chinesism" is the base of the local and creative theory –"Neo-Chinesism" constructed in this article.The aim is clearing the mass of advanced culture under the traditional furniture,distinguishing the "Chinoiseries","Neo Chinese furniture" and the design core,also taking contemporary "Neo-Chinesism" design for example,lastly depicting the local-growing process of "Neo-Chinesism" to prove its necessary and forward-looking development by detailed and deep analysis.
引文
[1]孙昕,李皓,雷亚芳.龙凤纹样的审美价值在明清家具雕饰中的视觉表达[J].西北林学院学报,2009,24(6):146-149.SUN X,LI H,LEI Y F.Visual expression of aesthetic valueof Dragon and Phoenix Patterns in Ming and Qing furnituredecoration[J].Journal of Northwest Forestry University,2009,24(6):146-149.(in Chinese)
[2]方海.现代家具设计中“中国主义”[M].北京:中国建筑工业出版社,2007:64-73.FANG H.“Chinesism”in modern furniture design[M].Bei-jing:China Architecture&Building Press,2007:64-73.(inChinese)
[3]李赐生.明清家具造型设计中的节奏与韵律美[J].西北林学院学报,2007,22(2):176-178.LI C S.The beauty of rhythm and cadence in Ming and QingDynatic furniture shape designing[J].Journal of NorthwestForestry University,2007,22(2):176-178.(in Chinese)
[4](明)文震亨.长物志图说(小室篇,敞室篇)[M].海军,田君,注释.济南:山东画报出版社,2003.
[5]钟畅.新中式家具的要义探讨[J].家具与室内装饰,2006(5):44-45.ZHONG C.The exploration of the meaning of New Chinesefurniture[J].Furniture&Interior Design,2006(5):44-45.(inChinese)
[6]王世襄.明式家具研究[M].北京:三联书店,2010:314-319
[7]邵晓峰.宋代家具———图像及研究集成[M].南京:东南大学出版社,2010.SHAO X F.Song dynasty furniture-image and research inte-gration[M].Nanjing:Southeast University Press,2010.
[8]吴功正.宋代理学对美学思维的影响[J].东南大学学报:哲学社会科学版,2010,12(3):84-86.WU G Z.The influence of idealist philosophy in Song Dynastyon aesthetic thought[J].Journal of Southeast University:Phi-losophy and Social Science,2010,12(3):84-86.(in Chinese)
[9]陆九渊.陆象山全集[M].北京:中国书店出版社,1992.
[10]朱熹.论语集注[M].长春:齐鲁书社,1992.
[11]古斯塔夫.艾克.中国花梨家具图考[M].北京:地震出版社,1991.ECKE G.Chinese domestic furniture[M].Beijing:Earth-quake Press,1991.
[12]方海.从古典漆家具看中国家具的世界地位和作用[J].家具与室内装饰,2002(6):66-73.FANG H.Ancient lacquer furniture to the status and effectof Chinese furniture in the world.[J].Furniture&InteriorDecoration,2002(6):66-73.(in Chinese)
[13]方海.20世纪西方家具设计流变[M].北京:中国建筑工业出版社,2001:57-59.FANG H.Trajectory of modern furniture design[M].Bei-jing:China Architecture&Building Press,2001:57-59.(inChinese)
[14]胡景初,方海,彭亮.世界现代家具发展史[M].北京:中央编译出版社,2005:406.HU J C,FANG H,PENG L.20th century modern furniture[M].Beijing:Central Compilation&Translation Press,2005:406.(in Chinese)
[15]周宪.中国当代审美文化研究[M].北京:北京大学出版社,1997:4.
[2]方海.现代家具设计中“中国主义”[M].北京:中国建筑工业出版社,2007:64-73.FANG H.“Chinesism”in modern furniture design[M].Bei-jing:China Architecture&Building Press,2007:64-73.(inChinese)
[3]李赐生.明清家具造型设计中的节奏与韵律美[J].西北林学院学报,2007,22(2):176-178.LI C S.The beauty of rhythm and cadence in Ming and QingDynatic furniture shape designing[J].Journal of NorthwestForestry University,2007,22(2):176-178.(in Chinese)
[4](明)文震亨.长物志图说(小室篇,敞室篇)[M].海军,田君,注释.济南:山东画报出版社,2003.
[5]钟畅.新中式家具的要义探讨[J].家具与室内装饰,2006(5):44-45.ZHONG C.The exploration of the meaning of New Chinesefurniture[J].Furniture&Interior Design,2006(5):44-45.(inChinese)
[6]王世襄.明式家具研究[M].北京:三联书店,2010:314-319
[7]邵晓峰.宋代家具———图像及研究集成[M].南京:东南大学出版社,2010.SHAO X F.Song dynasty furniture-image and research inte-gration[M].Nanjing:Southeast University Press,2010.
[8]吴功正.宋代理学对美学思维的影响[J].东南大学学报:哲学社会科学版,2010,12(3):84-86.WU G Z.The influence of idealist philosophy in Song Dynastyon aesthetic thought[J].Journal of Southeast University:Phi-losophy and Social Science,2010,12(3):84-86.(in Chinese)
[9]陆九渊.陆象山全集[M].北京:中国书店出版社,1992.
[10]朱熹.论语集注[M].长春:齐鲁书社,1992.
[11]古斯塔夫.艾克.中国花梨家具图考[M].北京:地震出版社,1991.ECKE G.Chinese domestic furniture[M].Beijing:Earth-quake Press,1991.
[12]方海.从古典漆家具看中国家具的世界地位和作用[J].家具与室内装饰,2002(6):66-73.FANG H.Ancient lacquer furniture to the status and effectof Chinese furniture in the world.[J].Furniture&InteriorDecoration,2002(6):66-73.(in Chinese)
[13]方海.20世纪西方家具设计流变[M].北京:中国建筑工业出版社,2001:57-59.FANG H.Trajectory of modern furniture design[M].Bei-jing:China Architecture&Building Press,2001:57-59.(inChinese)
[14]胡景初,方海,彭亮.世界现代家具发展史[M].北京:中央编译出版社,2005:406.HU J C,FANG H,PENG L.20th century modern furniture[M].Beijing:Central Compilation&Translation Press,2005:406.(in Chinese)
[15]周宪.中国当代审美文化研究[M].北京:北京大学出版社,1997:4.
版权所有：© 2023 中国地质图书馆 中国地质调查局地学文献中心