摘要
《考工记》与《天工开物》的造物艺术观念在整体上遵循儒家的思想理路,二者均把"圣人创物"作为中国古代物质文化发展的逻辑基础,强调造物等级观念的正当性,并着力构建"天—地—人"整体和谐的造物关系,但《天工开物》更加注重工匠的主体地位、更加突出百姓日用的造物目的。在工业信息时代背景下,欲使中国设计回归中国文化本元,不能仅依赖于传统样式的形式感创新,而当在传统工艺智慧中探索中国造物的语言特点与审美特质,构建中国现代设计的价值与话语体系。
The creation art thought of ＂kaogongji＂ and ＂tiangongkaiwu＂ followed the Confucianism on the whole, they all saw saint-creating-products as the logical basis of the development of Chinese ancient material culture, tolerated the legitimacy of the concept of hierarchy,and emphasized the harmonious relationship of creating between heaven, earth and man.But ＂tiangongkaiwu＂ payed more attention to the principal role of the craftsman, and highlighted people＇s daily purpose of creating.Under the background of industry and information age,in order to make Chinese design returned Chinese Meta culture not only depended form innovation of the traditional style, and should explore the language features and aesthetic characteristics of China creations in the traditional craft wisdom, and build the value and discourse system of Chinese modern design.
出处
《艺术设计研究》
CSSCI
2018年第3期79-83,共5页
Art & Design Research
基金
教育部人文社会科学研究青年项目"先秦诸子造物艺术批评思想比较研究"(项目编号:17YJC760099)的阶段性成果
