论明式家具设计中的美善统一

Unity of Beauty and Goodness in Ming-style Furniture Design

目的基于中国传统儒家人伦理中的“尽善尽美”准则,论证家具设计中审美与实用的统一。方法以明式家具为例,从家具设计中的材质、结构、陈设、内涵四个方面,分别论证审美与实用的相统一性。黄花梨木天然纹理传达出自然成趣的审美品格,其韧性充分体现出实用特性;明式家具结构简洁明了,同时满足不同条件的使用要求,俱尽其妙;家具色彩随着环境的不同,选择主色调也有差别,室内多褐色系,户外可选黑色;明式家具造型体现着内敛的性格特征,装饰承载着吉祥寓意,寄托人们美好生活的向望。四个层面从外至内,层层递近,基本涵盖家具设计的各要素。结论在家具设计艺术中,实用性与审美性是其一物两面,不可分割、不可或缺,并且两者有机统一,实现了家具设计中的尽善尽美。

The paper aims to demonstrate the unity of aesthetics and practicality in furniture design based on the“Unity of Good and Beauty”rule in the traditional Chinese Confucian ethics.Taking Ming-style furniture as an example,the unity of aesthetics and practicality was demonstrated from the four aspects of material design,structure,furnishings and connotation in furniture design.The texture of scentedwood conveyed a natural and interesting aesthetic character,its toughness reflects practicality;Ming-style furniture had a simple and clear structure,while meeting the characteristics of different conditions of use;furniture colors vary with the environment.Brown was mostly used indoor and black was mostly used outdoors;the Ming furniture style reflected the restrained character.Its decoration carried auspicious meaning,and also entrusted people to look forward to a better life.The four levels covered the various elements of furniture design from outside to inside in a progressive way.In the art of furniture design,practicality and aesthetics like two sides of a coin.They are inseparable and indispensable.They are unified to realize perfect furniture design.