三论东方设计——解析东方设计学建构中的若干关系
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摘要
东方设计学是一门立足于东方文化和东方哲学,吸取东西方文化之精髓,秉持多元文化兼容并蓄的态度,以传承和创新的角度从传统设计中汲取营养,充分结合现代设计的先进技术、先进理念的设计学科。东方设计学的构建将运用东方智慧以设计的途径服务于今人精神和物质层面的需求,继而搭建人与自然、人与社会、人与人之间和谐共生的美好未来,以此助力人类命运共同体的构建。在东方设计学在建构过程中涉及的若干关系,包括东方设计学与东方学的关系、东方设计学与东西方文化的关系及其文化立场,以及东方设计学与传统和现代设计之间的联系,以厘清东方设计学与相关学科间的联系与区别,为东方设计学的设计实践提供理论支持,以利于勾勒出系统化、科学化的学科体系和理论架构。
The Oriental Design has been developed on the basis of oriental culture and philosophy. This discipline has integrated the cultural essence of East and West, derived from exploitation of traditional design with both an inheritance and creation perspective. A consideration of the systematic theory construction of Oriental Design enriches the communicating of the traditional and the modern design and elucidates the conception of building a community of shared future. This article focuses on some relation structures of building Oriental Design and explains how to deal with the relationship between Oriental studies, the East and West culture, and the contact between traditional and modern design. By examining how Oriental Design who comes from the Oriental ancient wisdom looked at the future development of design and impacted the human future life this article seeks to elucidate the influence that based on the construction of Oriental Design for the design practices.
The Oriental Design has been developed on the basis of oriental culture and philosophy. This discipline has integrated the cultural essence of East and West, derived from exploitation of traditional design with both an inheritance and creation perspective. A consideration of the systematic theory construction of Oriental Design enriches the communicating of the traditional and the modern design and elucidates the conception of building a community of shared future. This article focuses on some relation structures of building Oriental Design and explains how to deal with the relationship between Oriental studies, the East and West culture, and the contact between traditional and modern design. By examining how Oriental Design who comes from the Oriental ancient wisdom looked at the future development of design and impacted the human future life this article seeks to elucidate the influence that based on the construction of Oriental Design for the design practices.
引文
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[15]周武忠.中国设计学,更“东方”才能更“世界”[N].人民日报(海外版),2018-04-07(8).
[16](明)王佐.中国艺术文献丛刊:新增格古要论[M].杭州:浙江人民美术出版社,2011:6-15;30-42.
[17]武旭.简论原研哉设计理念中的东方美学传统[J].艺海,2011(10):96-97.
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[19]戴吾三.考工记图说[M].济南:山东画报出版社,2003:4-5;49-50.
[20]王艳,杨文妍.关于中国设计境界说的美学思考[J].包装工程,2018(16):233-235.
[21]漆炫烨.探析东方美学对现代设计的影响[J].家具与室内装饰,2017(08):70-71.
[2]周武忠.论东方设计[J].中国名城,2016(04):4-10.
[3]周武忠.中国设计学,更“东方”才能更“世界”[N].人民日报(海外版),2018-04-07(8).
[4]周武忠.再论东方设计—东方设计学的概念、内容及其研究意义[J].中国名城,2017(09):4-10.
[5]爱德华.萨义德.《东方学》[M].王宇根,译.北京:生活.读书.新知三联书店,2007:4.
[6]张西平.如何理解作为西方东方学一部分的汉学——评萨义德《东方学》[J].国际汉学,2017(04):5-13.
[7]王向远.被误解的“东方学”[N].社会科学报,2015-2-5.
[8]周武忠,华章,孟乐.东方设计,中国设计学可持续发展之路—2016东方文化与设计哲学国际研讨会综述[J].中国名城,2016(06):91-92+44.
[9]田辰山.新时代东方文化传承与走向[J].中央社会主义学院学报,2018(04):24-32.
[10]季羡林.东学西渐与“东化”[J].美术,2005(03):32-33.
[11]季羡林.漫谈东西文化[J].中华文化论坛,1994(01):1.
[12]王向远.比较文明论四大形态与“东方-西方”的消解整合[J].北方工业大学学报,2018(01):1-14.
[13]季羡林.东方文化与东方文学[J].文艺争鸣,1992(04):4-6.
[14]张汝伦.中国哲学与当代世界[J].哲学研究,2017(01):91-100+129.
[15]周武忠.中国设计学,更“东方”才能更“世界”[N].人民日报(海外版),2018-04-07(8).
[16](明)王佐.中国艺术文献丛刊:新增格古要论[M].杭州:浙江人民美术出版社,2011:6-15;30-42.
[17]武旭.简论原研哉设计理念中的东方美学传统[J].艺海,2011(10):96-97.
[18](明)文震亨,屠隆.长物志考槃余事[M].杭州:浙江人民美术出版社,2011:21-33;40-51.
[19]戴吾三.考工记图说[M].济南:山东画报出版社,2003:4-5;49-50.
[20]王艳,杨文妍.关于中国设计境界说的美学思考[J].包装工程,2018(16):233-235.
[21]漆炫烨.探析东方美学对现代设计的影响[J].家具与室内装饰,2017(08):70-71.