论晚明家具的审美“真趣”

On the“True Interest”of Furniture Aesthetics in the Late Ming Dynasty

晚明家具的美学风格整体上呈现多元化甚至矛盾化的特征,这一现象的成因尚有深入探讨的理论空间。引领家具审美风尚的晚明文人在心学影响下突破理学窠臼,在一定程度上复兴了以“平淡自然”范式为主的古典美学崇“真”尚“淡”的趣味,这一文化语境推动了自然天成、平淡素朴的家具风格的流行。“真”这一范畴在浪漫美学思潮中又得以拓展,并发展出追求主体情性之“真”的新“真趣”,从而使晚明士民愈发重视家具审美中的情感体验,追求家具审美和设计的个性化与新奇性,甚至在一定程度上走向物欲化。这种意涵丰富的家具审美“真趣”成为晚明一道独特的文化景观。

On the whole,the aesthetic style of furniture in the late Ming Dynasty showed the characteristics of diversification and even contradiction.The causes of this phenomenon still have theoretical space for in-depth discussion.The literati of the late Ming Dynasty,who led the furniture aesthetic trend,broke through the restriction of Neo-Confucianism under the influence of“Yangming Hsin Hsueh”,and revived the classical aesthetic interest of advocating“truth”with the paradigm of“plain and nature”to a certain extent.This cultural context promoted the popularity of natural,plain and simple furniture style;On the other hand,the category of“truth”was expanded in the trend of romantic aesthetics,and developed a new“truth interest”in pursuing the“truth”of subjective emotion,which made the people of the late Ming Dynasty pay more attention to the emotional experience in furniture aesthetics,pursue the personalization and novelty of furniture aesthetics and design,and even move towards material desire to a certain extent.This meaningful aesthetic“true interest”of furniture became a unique cultural landscape in the late Ming Dynasty.