造物的文化与风格—中国传统文化影响下的椅子风格研究
|
摘要
现代椅子设计中,椅子的人机性是要考虑的核心内容之一。椅子的人机性也是现在比较受关注的课题。纵观中国从席地而坐的坐具到垂足而坐的椅子这数千年的历史发展过程,除了明式椅子有朴素的人机工学观念意外,其余基本上是近乎垂直的直背,坐上去并不舒服。是什么样的原因让人们宁愿放弃对于舒适性的追求这一人类的自然本性,论文经过分析、论证,得出的结论就是:形成中国椅子独特风格的原因就是受到传统中国文化的影响,儒家礼仪文化要求人们“正襟危坐”,以符合儒家“身直心正”的逻辑要求,法家为了维护统治的需要更进一步的将儒家的礼仪规范强化为必须遵守的等级关系,使得椅子成了身份、地位的象征。道家文化是儒、法文化的重要补充,塑造了中国椅子的内在气质,形态或优雅或稳重端庄,追求自然本色的纹理装饰,体现“天人合一”的思想。
本篇论文运用分析综合法、归纳演绎法、系统研究法、比较类比法以及例证法,通过系统归纳中国几千年椅子风格的变化,按照时间、朝代顺序分明别类,分析风格背后的文化原因。同时着重对重要的风格特征的转变即由席地而坐到垂足而坐的转变背后的文化原因进行了详细的分析。查阅大量中外资料的基础上,采用一些史学上、社会学上的研究方法,从外族文化的深入、佛教、景教文化的影响等多个方面论证了文化在风格的转变过程中所起的作用。论文也将最能代表中国椅子的明式椅进行了着重分析,明式椅是中国传统文化的集大成者,具有重要的标本意义。
在沿着中国椅子风格变化这条线进行论证研究的同时,为了更好完成对大课题,文化与风格之间关系的研究,与西方历史上的椅子风格变化进行了比较,研究了西方椅子风格变化背后的文化。并得出了西方的尤其是工业革命之后设计风格之所以多样,就是因为其国家众多,文化形态不一,不同文化下的设计业都呈现出自己的特点所造成的。而中国的情况是儒、法、道支撑起来的中国传统文化具有稳定性、传承性的特点,在全球来看中国文化也是唯一传承至今没有断裂的文化。这种稳定的文化使得中国传统椅子的风格发展同样呈现出稳定性的特征。
本文研究成果:
1、系统阐述文化与风格之间的关系。造物的文化与风格是基于导师吕杰锋副教授签约北京大学出版社的学术著作《造物艺术设计》的子课题,承接上一届许留军从人机工学角度来对椅子进行研究,本论文对椅子从文化角度切入进行研究,并承接杨婧的研究课题—《多元一体的设计文化在产品设计中的应用》。
2、第一次从儒、法、道等传统文化角度分析其对中国椅子风格的影响,从文化角度解析很多椅子坐着并不舒服却坐了上千年的原因。
3、从文化角度解答了中国椅子具有几千年一以贯之的继承性,而西方椅子形态、风格复杂多变的原因。对当今设计语境下文化的发展与选择提出了自己的见解,提出要建立自由的文化环境,使得设计可以吸取不同文化思想中的精华,促进设计风格的多样化发展,以满足人们的需求。
4、理清不同文化间的交融与借鉴,为致力于设计出科学与人文相结合的设计提供理论参考。
Ergonomics of chair is to be considered one of the core contents in modern chair design.The subject has attracted the concern of many people. Almost all of the traditional Chinese chairs are vertical chair backs except Ming-style chairs, Ming-style chairs have a simple concept of ergonomics, from sitting on the floor to sitting in the chairs through the past few thousands years of history. Almost all of the traditional Chinese chairs are not comfortable. What is the reason people would rather give up the pursuit for the comfort of the natural human nature.Through the analysis of the paper, argues that the conclusions are: The formation of a unique Chinese-style chair is impacted by traditional Chinese culture, Confucian culture etiquette requires that people "sit in a chair keeping shoulder vertical ", to comply with the logic of Confucian "body is vertical, people are upright " . Legalists make a chair became a symbol of status. Taoist shapes chair's temperament, makes chair decorate using natural texture, to consistent with the idea of harmony between man and nature of Taoism.
I analize the changes of traditional Chinese chair style systemlly, in accordance with the time sequence of distinct dynasties, the cultural reasons behind the style,this article used analysis and synthetic methods, induction and deduction methods, system study, analogy methods and exemplification method. At the same time this paper focuses on the important changes in the characteristics of the style that from sit on the floor to sit in the chairs,and analyses the cultural reasons behind the changes.This paper analyses the important role of culture such as buddhism ect. in the process of changes of styles accessing to a large number of Chinese and foreign information on the basis of the use of some of history, sociological research methods.This papers also analyzes Ming-style chairs, Ming-style chair is the embodiment of traditional Chinese culture and specimens that has important significance.
The paper carries out studying along the changes of Chinese chair styles, in order to better complete the major issue, the relationship between culture and style of study, compared to western chair styles. At the same time the paper studies the culture behind the western chair style. Through research and the pape concluds that This article research results: The emergence of multi-style was impacted by multi-cultural. The characteristics of traditional Chinese chairs are stable under the influence of traditional Chinese culture. The results of research:
1、Studying the relationship between style and culture systemlly. This paper is a subset of the tutor's subject- an academic works signed Beijing University Press. This paper plays the role of connecting in our large academic group.
2、The paper analizes creatively Chinese chair styles under the influence of traditional Chinese culture. The paper analizes that why the ancient Chinese people had been sitting in a chair that is not comfortable from a cultural perspective.
3、The paper analizes that why the characteristics of traditional Chinese chairs are stable and the styles of western chairs are complexed and diverse from a cultural perspective. The author promotes the establishment of a free cultural environment. Different cultures learn from each other.We promote the diversification of designing styles to meet the people's needs.
4、The paper provides reference for the design. We hope to design a better works that combinate the science and humanities.
本篇论文运用分析综合法、归纳演绎法、系统研究法、比较类比法以及例证法,通过系统归纳中国几千年椅子风格的变化,按照时间、朝代顺序分明别类,分析风格背后的文化原因。同时着重对重要的风格特征的转变即由席地而坐到垂足而坐的转变背后的文化原因进行了详细的分析。查阅大量中外资料的基础上,采用一些史学上、社会学上的研究方法,从外族文化的深入、佛教、景教文化的影响等多个方面论证了文化在风格的转变过程中所起的作用。论文也将最能代表中国椅子的明式椅进行了着重分析,明式椅是中国传统文化的集大成者,具有重要的标本意义。
在沿着中国椅子风格变化这条线进行论证研究的同时,为了更好完成对大课题,文化与风格之间关系的研究,与西方历史上的椅子风格变化进行了比较,研究了西方椅子风格变化背后的文化。并得出了西方的尤其是工业革命之后设计风格之所以多样,就是因为其国家众多,文化形态不一,不同文化下的设计业都呈现出自己的特点所造成的。而中国的情况是儒、法、道支撑起来的中国传统文化具有稳定性、传承性的特点,在全球来看中国文化也是唯一传承至今没有断裂的文化。这种稳定的文化使得中国传统椅子的风格发展同样呈现出稳定性的特征。
本文研究成果:
1、系统阐述文化与风格之间的关系。造物的文化与风格是基于导师吕杰锋副教授签约北京大学出版社的学术著作《造物艺术设计》的子课题,承接上一届许留军从人机工学角度来对椅子进行研究,本论文对椅子从文化角度切入进行研究,并承接杨婧的研究课题—《多元一体的设计文化在产品设计中的应用》。
2、第一次从儒、法、道等传统文化角度分析其对中国椅子风格的影响,从文化角度解析很多椅子坐着并不舒服却坐了上千年的原因。
3、从文化角度解答了中国椅子具有几千年一以贯之的继承性,而西方椅子形态、风格复杂多变的原因。对当今设计语境下文化的发展与选择提出了自己的见解,提出要建立自由的文化环境,使得设计可以吸取不同文化思想中的精华,促进设计风格的多样化发展,以满足人们的需求。
4、理清不同文化间的交融与借鉴,为致力于设计出科学与人文相结合的设计提供理论参考。
Ergonomics of chair is to be considered one of the core contents in modern chair design.The subject has attracted the concern of many people. Almost all of the traditional Chinese chairs are vertical chair backs except Ming-style chairs, Ming-style chairs have a simple concept of ergonomics, from sitting on the floor to sitting in the chairs through the past few thousands years of history. Almost all of the traditional Chinese chairs are not comfortable. What is the reason people would rather give up the pursuit for the comfort of the natural human nature.Through the analysis of the paper, argues that the conclusions are: The formation of a unique Chinese-style chair is impacted by traditional Chinese culture, Confucian culture etiquette requires that people "sit in a chair keeping shoulder vertical ", to comply with the logic of Confucian "body is vertical, people are upright " . Legalists make a chair became a symbol of status. Taoist shapes chair's temperament, makes chair decorate using natural texture, to consistent with the idea of harmony between man and nature of Taoism.
I analize the changes of traditional Chinese chair style systemlly, in accordance with the time sequence of distinct dynasties, the cultural reasons behind the style,this article used analysis and synthetic methods, induction and deduction methods, system study, analogy methods and exemplification method. At the same time this paper focuses on the important changes in the characteristics of the style that from sit on the floor to sit in the chairs,and analyses the cultural reasons behind the changes.This paper analyses the important role of culture such as buddhism ect. in the process of changes of styles accessing to a large number of Chinese and foreign information on the basis of the use of some of history, sociological research methods.This papers also analyzes Ming-style chairs, Ming-style chair is the embodiment of traditional Chinese culture and specimens that has important significance.
The paper carries out studying along the changes of Chinese chair styles, in order to better complete the major issue, the relationship between culture and style of study, compared to western chair styles. At the same time the paper studies the culture behind the western chair style. Through research and the pape concluds that This article research results: The emergence of multi-style was impacted by multi-cultural. The characteristics of traditional Chinese chairs are stable under the influence of traditional Chinese culture. The results of research:
1、Studying the relationship between style and culture systemlly. This paper is a subset of the tutor's subject- an academic works signed Beijing University Press. This paper plays the role of connecting in our large academic group.
2、The paper analizes creatively Chinese chair styles under the influence of traditional Chinese culture. The paper analizes that why the ancient Chinese people had been sitting in a chair that is not comfortable from a cultural perspective.
3、The paper analizes that why the characteristics of traditional Chinese chairs are stable and the styles of western chairs are complexed and diverse from a cultural perspective. The author promotes the establishment of a free cultural environment. Different cultures learn from each other.We promote the diversification of designing styles to meet the people's needs.
4、The paper provides reference for the design. We hope to design a better works that combinate the science and humanities.
引文
[1]王昶辑.金石萃编.北京:中国书店,1985.卷一○三,页11
[2]周勋初校证.唐语林校证.北京:中华书局,1987,卷六,页523。
[3]汉语大词典.上海:上海辞书出版社,1991及现代汉语词典.北京:商务印书馆,1985
[4]藤田丰八.胡床.东西交涉史研究.东京:冈书院,1934.页143-185
[5](宋)高承.事物纪原.中华书局,1989年
[6](宋)范晔.后汉书.中华书局,2005-3-1
[7]赵广超.一章木椅.三联书店,2008年5月版
[8]舒新城等主编.辞海.戌集,265页,上海,中华书局,1939
[9]黎运汉,《汉语风格学》,1页,广东,教育出版社,2000
[10]陈卉婷、黄佳惠,语言风格研究-以「国产乘用车Top10」汽车广告标语为例,铭传大学应用中国文学系应用语言学
[11]陈增弼.中国建筑艺术史.文物出版社1999年版
[12]吴哲.中国古代床具的历史沿革与变迁[J].中国家具,2006(2).
[13]黄正建.唐代的椅子和绳床.文物.1990年第7期
[14]柯嘉豪.中央研究院历史语言研究所中央研究院历史语言研究所集刊第六十九本,第四分(1998,12)
[15]李泽厚.美的历程[M].北京:文物出版社,1982.
[16]杨先艺.设计艺术历程.人民美术出版社.2004-5-1
[17]程能林.工业设计史概论.机械工业出版社.2005年
[18]陆游.老学庵笔记.《陆放翁全集》卷四.页24,台北:世界书局.1961
[19]刘介民.中国传统文化精神[M].广州:暨南大学出版社,1997..
[20]聂菲.中国古代家具鉴赏[M].成都:四川大学出版社,2000..
[21]李宗山.中国家具史图说[M].武汉:湖北美术出版社,2001.2-3.
[22]舒乙.中国古典家具研究会会刊,1991年,9期,9页
[23]王世襄.中国古典家具研究会会刊,1991年,9期,4页
[24]王受之.世界现代设计史,中国青年出版社,2002
[25彭吉象.艺术学概论,北京大学出版社,1994.7
[26]田自秉.中国工艺美术简史,中国美术学院出版社,1989.1
[27]聂振斌 滕守尧 章建刚,艺术化生存,四川人民出版社,2001
[28]陈汗青.系统设计原理,武汉理工大学教材中心,2003.9
[29]朱大渭.中古汉人由跪坐到垂脚高坐.中国史研究.1994.4:102
[30]朱谦之.中国景教,北京:东方出版社,1993
[31]伊东照司编.原始佛教美术图典,东京:雄山阁出版株式会社,1992
[32]吴美凤.宋明时期家具形制之研究,中国文化大学艺术研究所美术组硕士论文,台北:中国文化大学
[33]余英时.说鸿门宴的坐次,收入《史学与传统》,1982
[34]余云华.拱手、鞠躬、跪拜--中国传统交际礼仪,成都:四川人民出版社,1993
[35]周绍良.弥勒信仰在佛教初入中国的阶段和其造像意义,收入《世界宗教研究》,1990
[36]易水.漫谈胡床.文物,1982.10
[37]陕西省博物馆文馆会.唐李寿墓发掘简报、唐李寿墓壁画试探,《文物》1974.9。
[38]崔咏雪.中国家具史.坐具篇,1994
[39]陈伟明.唐宋饮食文化初探.,北京:中国商业出版社,1993
[40]陈增弼.汉、魏、晋独坐式小榻初论.文物,1979.9
[41]云梦睡虎地秦墓编写组编.云梦睡虎地秦墓,北京:文物出版社。
[42]孙机.汉代物质文化资料图说,北京:文物出版社,1991
[43]杨泓.敦煌莫高窟与中国古代家具史研究之一,载于段文杰编,《1987敦煌石窟研究国际讨论会文集(石窟考古编)》,沈阳:辽宁美术出版社,页520.533
[44]尹定邦.设计学概论.湖南科学技术出版社,2003.11
[1]Lyndia H.Liu translinguial Practice:Literature,Nationational Culture And Translated Modernity:china.1900-1937.p307
[2]Asha Vishnu,Material Life of Northern India(3rd century B.C.to 1st Century B.C.)(New Delhi:Mittal Publications,1993),pp.30-32。
[3]FitzGerald,Barbarian Beds,p.33-50.
[4]Bourda,MG 1959 " Ouelque reflexions sur la pose assise a l(?)urop(?)ne dans l(?)rt bouddhique,"Artibus Asiae 12.4:302 - 313。
[5]Braudel,Fernand 1981 The Structures of Everyday Life:Civilization & Capitalism 15th-18th Century,New York:Harper & Row.
[6]Cahill,James 1980 An Index of Early Chinese Painters and Paintings:T'ang,Sung,and Yuan,Berkeley:University of California Press.
[7]Chavannes,Edouard 1913-15 Mission arch'eologique dans la Chine septentrionale,Paris:E.Leroux.[8]Clunas,Craig 1988 Chinese Furniture,London:Bamboo Publishing Ltd.
[9]Daniels,Christian 1995 Science and Civilisation in China,v.6 Biology and Biological Technology:pt.3 Agro-industries and Forestry,Cambridge:Cambridge University Press.
[10]Dien,Albert E.1986 “he Stirrup and Its Effect on Chinese Military History,”Ars Orientalis 16:33-56.
[11]Elias,Norbert 1994 The Civilizing Process,Oxford:Blackwell.
[12]FitzGerald,CP 1965 Barbarian Beds:The Origin of the Chair in China,London:The Cresset Press.
[13]Hallade,Madeleine 1969 Gandharan Art of North India,New York:Harry N.Abrams Inc.
[14]Handler,Sarah 1991 “The Revolution in Chinese Furniture:Moving from Mat to Chair,”Asian Art 4.3(Summer 1991):9-33。
[15]1994 “The Korean and Chinese Furniture Tradition,” Journal of the Classical Chinese Furniture Society,4.4(Autumn 1994):45-57。页761
[16]Harper,Donald 1985 “A Chinese Demonography of the Third Century BC,”Harvard Journal of Asiatic Studies 45.2:459-498.
[17]Holzman,Donald 1967 “A propos de l'origine de la chaise en chine,”T'oung Pao 53:279-292.
[1]http://www.dolcn.com
[2]周勋初校证.唐语林校证.北京:中华书局,1987,卷六,页523。
[3]汉语大词典.上海:上海辞书出版社,1991及现代汉语词典.北京:商务印书馆,1985
[4]藤田丰八.胡床.东西交涉史研究.东京:冈书院,1934.页143-185
[5](宋)高承.事物纪原.中华书局,1989年
[6](宋)范晔.后汉书.中华书局,2005-3-1
[7]赵广超.一章木椅.三联书店,2008年5月版
[8]舒新城等主编.辞海.戌集,265页,上海,中华书局,1939
[9]黎运汉,《汉语风格学》,1页,广东,教育出版社,2000
[10]陈卉婷、黄佳惠,语言风格研究-以「国产乘用车Top10」汽车广告标语为例,铭传大学应用中国文学系应用语言学
[11]陈增弼.中国建筑艺术史.文物出版社1999年版
[12]吴哲.中国古代床具的历史沿革与变迁[J].中国家具,2006(2).
[13]黄正建.唐代的椅子和绳床.文物.1990年第7期
[14]柯嘉豪.中央研究院历史语言研究所中央研究院历史语言研究所集刊第六十九本,第四分(1998,12)
[15]李泽厚.美的历程[M].北京:文物出版社,1982.
[16]杨先艺.设计艺术历程.人民美术出版社.2004-5-1
[17]程能林.工业设计史概论.机械工业出版社.2005年
[18]陆游.老学庵笔记.《陆放翁全集》卷四.页24,台北:世界书局.1961
[19]刘介民.中国传统文化精神[M].广州:暨南大学出版社,1997..
[20]聂菲.中国古代家具鉴赏[M].成都:四川大学出版社,2000..
[21]李宗山.中国家具史图说[M].武汉:湖北美术出版社,2001.2-3.
[22]舒乙.中国古典家具研究会会刊,1991年,9期,9页
[23]王世襄.中国古典家具研究会会刊,1991年,9期,4页
[24]王受之.世界现代设计史,中国青年出版社,2002
[25彭吉象.艺术学概论,北京大学出版社,1994.7
[26]田自秉.中国工艺美术简史,中国美术学院出版社,1989.1
[27]聂振斌 滕守尧 章建刚,艺术化生存,四川人民出版社,2001
[28]陈汗青.系统设计原理,武汉理工大学教材中心,2003.9
[29]朱大渭.中古汉人由跪坐到垂脚高坐.中国史研究.1994.4:102
[30]朱谦之.中国景教,北京:东方出版社,1993
[31]伊东照司编.原始佛教美术图典,东京:雄山阁出版株式会社,1992
[32]吴美凤.宋明时期家具形制之研究,中国文化大学艺术研究所美术组硕士论文,台北:中国文化大学
[33]余英时.说鸿门宴的坐次,收入《史学与传统》,1982
[34]余云华.拱手、鞠躬、跪拜--中国传统交际礼仪,成都:四川人民出版社,1993
[35]周绍良.弥勒信仰在佛教初入中国的阶段和其造像意义,收入《世界宗教研究》,1990
[36]易水.漫谈胡床.文物,1982.10
[37]陕西省博物馆文馆会.唐李寿墓发掘简报、唐李寿墓壁画试探,《文物》1974.9。
[38]崔咏雪.中国家具史.坐具篇,1994
[39]陈伟明.唐宋饮食文化初探.,北京:中国商业出版社,1993
[40]陈增弼.汉、魏、晋独坐式小榻初论.文物,1979.9
[41]云梦睡虎地秦墓编写组编.云梦睡虎地秦墓,北京:文物出版社。
[42]孙机.汉代物质文化资料图说,北京:文物出版社,1991
[43]杨泓.敦煌莫高窟与中国古代家具史研究之一,载于段文杰编,《1987敦煌石窟研究国际讨论会文集(石窟考古编)》,沈阳:辽宁美术出版社,页520.533
[44]尹定邦.设计学概论.湖南科学技术出版社,2003.11
[1]Lyndia H.Liu translinguial Practice:Literature,Nationational Culture And Translated Modernity:china.1900-1937.p307
[2]Asha Vishnu,Material Life of Northern India(3rd century B.C.to 1st Century B.C.)(New Delhi:Mittal Publications,1993),pp.30-32。
[3]FitzGerald,Barbarian Beds,p.33-50.
[4]Bourda,MG 1959 " Ouelque reflexions sur la pose assise a l(?)urop(?)ne dans l(?)rt bouddhique,"Artibus Asiae 12.4:302 - 313。
[5]Braudel,Fernand 1981 The Structures of Everyday Life:Civilization & Capitalism 15th-18th Century,New York:Harper & Row.
[6]Cahill,James 1980 An Index of Early Chinese Painters and Paintings:T'ang,Sung,and Yuan,Berkeley:University of California Press.
[7]Chavannes,Edouard 1913-15 Mission arch'eologique dans la Chine septentrionale,Paris:E.Leroux.[8]Clunas,Craig 1988 Chinese Furniture,London:Bamboo Publishing Ltd.
[9]Daniels,Christian 1995 Science and Civilisation in China,v.6 Biology and Biological Technology:pt.3 Agro-industries and Forestry,Cambridge:Cambridge University Press.
[10]Dien,Albert E.1986 “he Stirrup and Its Effect on Chinese Military History,”Ars Orientalis 16:33-56.
[11]Elias,Norbert 1994 The Civilizing Process,Oxford:Blackwell.
[12]FitzGerald,CP 1965 Barbarian Beds:The Origin of the Chair in China,London:The Cresset Press.
[13]Hallade,Madeleine 1969 Gandharan Art of North India,New York:Harry N.Abrams Inc.
[14]Handler,Sarah 1991 “The Revolution in Chinese Furniture:Moving from Mat to Chair,”Asian Art 4.3(Summer 1991):9-33。
[15]1994 “The Korean and Chinese Furniture Tradition,” Journal of the Classical Chinese Furniture Society,4.4(Autumn 1994):45-57。页761
[16]Harper,Donald 1985 “A Chinese Demonography of the Third Century BC,”Harvard Journal of Asiatic Studies 45.2:459-498.
[17]Holzman,Donald 1967 “A propos de l'origine de la chaise en chine,”T'oung Pao 53:279-292.
[1]http://www.dolcn.com