【作者】 姚丹；

【导师】 刘纲纪；

【作者基本信息】 武汉大学 ， 哲学、美学， 2016， 博士

【摘要】 本文以先秦艺术设计实践、手工业商业概况、礼乐文化以及哲学思想为背景,分别从设计美学本体论、功能论、形式论、思维论这四个方面来解读先秦设计美学思想的核心概念,进而分析先秦设计美学思想的现代意义。先秦时期,青铜器、玉器、服饰、建筑、车等高度繁荣的造物设计实践中蕴含着丰富的设计美学思想,也推动了理论层面的探讨,出现了我国第一部论述工艺造物的专著《考工记》。手工业商业的发展是先秦设计美学思想产生的重要经济背景。春秋战国时期,随着“工商食官”的裂变,民间手工业迅速兴起,我国古代条件下的商品交换高速发展,这使得社会上弃农经商,追逐财富,成为一时的风气,造成农业人口的流失,威胁到作为立国之本的农业的发展以及政权的稳定,在这种情况下,先秦诸子大多主张“重农抑商”,由此引发了先秦诸子对于手工业及其产品的价值、本质、功用等方面的理论探讨。先秦设计美学的发展同先秦礼乐文化的发展分不开,而对礼乐文化的看法又同先秦哲学思潮分不开。这就使得先秦哲学成为先秦设计美学的思想基础,两者是联为一体的。先秦哲学所探讨的道器、器用、文质、象意等问题,已经从艺术设计的本体、功能、形式、思维等各方面触及到了设计美学的核心,这对于深入分析先秦设计美学有着极为重要的意义。首先,先秦哲学关于“道”与“器”的关系的探讨,深刻涉及了设计美学的本体论问题。在先秦哲学看来,道器一体,“道”是“器”的本体、内容,“器”是“道”的显现、形式。虽然这里所说的“器”指的是一切有形可感的万物,并不仅指人们使用的器物,但无疑又包含了人们使用的各种器物,这就使“道”与“器”的关系的讨论和人们使用的各种器物的设计问题联系起来了。因此,一方面,器显天道,器物设计与制作必须遵循天道,如天时、地气所决定的生态和材质,制器不能脱离天道的生发、演化,体现了一种人与自然和谐的生态设计观；另一方面,器显人道,器物的设计不仅重视实用,也注重其内在的社会意义和文化内涵,如尊卑有序的等级观,比德修身的德行观,器物引导使用者在使用过程中培养理想的生活方式和精神修养,符合社会的人伦法则,从而达到人与社会的统一,总之,以“道器”论为本的设计美学最终追求的是一种人与自然、人与社会和谐统一的审美境界。其次,先秦哲学中“器”与“用”的关系也与设计美学密切相关,直接涉及了设计的实用功能问题。伍举、墨子、韩非子均从国计民生的角度出发,强调器物制作应该满足广大百姓的日常需要,由此认为器物的实用功能是首要的,即“有用之用”,这与西方现代设计中强调功能以及设计为大众服务的核心理念是一致的。道家站在道生万物的立场,认为万物和人一样都有其本性,因此也各有其独特的价值与作用,虽然没有世俗所说的功用却有全生保性的大用,即所谓“无用之用”。这种说法包含着对于人与自然,人与物的关系的某种超功利思考,其价值取向与现代设计理念有某种相通之处,对解决当今设计困境有着不可忽视的参照意义。从“器用”观出发,先秦设计美学形成了“以人为本”、“物尽其用”的设计原则。再次,先秦哲学所讨论的“文”与“质”的关系问题与设计美学有密切关系。先秦文质论主要表现为两种思想倾向：一是以儒家为代表,主张文质统一,即既要有“文”,又要有“质”,以“文质彬彬”为最高理想；一是以老庄、墨子、韩非子为代表,主张重质轻文。老庄的重质,是重质本有的天然之美,墨子、韩非子的重“质”虽然也不处处绝对排斥美,但始终把“质”的有用性放在首要地位。虽然先秦“文质”论不是专门针对造物设计而言,但文质观念却融入到了当时的造物设计中,对先秦乃至后世的造物设计的审美产生了深远影响。儒家的文质统一的设计美学内涵主要表现为形式与伦理功能、审美功能的统一,老庄的重质轻文则对后世设计崇尚素朴、追求自然的审美风格产生了重要影响,墨子、韩非子的重质轻文则继续发展了重视实用功能的思想。最后, 《周易》一书所提出的“观物取象”和“制器尚象”思想也与先秦设计美学有着重要关系,它说明了器物设计构思的完整过程：“观物——取象——制器”,体现了整体性思维、悟性思维、类比思维、简化思维以及模仿思维。“立象以尽意”的象征思维虽然是针对卦象而言,但是其中“象”与“意”的关系问题与设计传达也是相通的。“立象以尽意”的象征思维在设计中表现为“象形寓意”的设计传达手法,即通过器物的造型、纹饰、色彩、材质等表达更深次的意。总之,先秦设计美学思想注重人与自然的和谐,人与物的和谐,强调人的主体性,以人为本,不仅注重器物的物质实用功能,而且重视器物的人文精神的表达,这些都与现代设计美学所提倡的生态设计、人性化设计、生活方式设计理念有着相通之处,对于解决当下设计所存在的困境具有重要的借鉴意义。此外,先秦设计美学表明中华民族很早就把器物设计提到了哲学美学的高度,并进行了多层面的深入思考,这是世界其它民族的古代设计美学所不能及的。更多还原

【Abstract】 Based on the art designs,handicrafts and commerce, the ritual and music culture and philosophical thoughts in the pre-Qin period, this dissertation expands the core concepts of the design aesthetic thoughts in the pre-Qin period from those four aspects of ontology, functionalism, formlism and thinking and then analysis its modern significance.In the pre-Qin period, the art designs of bronze wares, jade articles, costumes, architecture and buildings and carriage contains abundant design aesthetic thoughts, which promoted the discussion in the theories, such as the first art design works of the Artificers’records. Handicrafts and commerce in the pre-Qin period is important economic background. During the Spring and Autumn period, with the disruption of "Gongshangshiguan", folk handicrafts rose up and economics developed rapidly. People were in frenetic pursuit of wealth and gave up farm production and engaged in trading, which led to the population decline in agriculture, in this case, the majority of thinkers in the pre-Qin period advocated policy of physiocracy and restriction of business,followed by their rational discussions on the value, nature and function of handicrafts.The development of design aesthetics is associated with the development of the ritual and music culture in the pre-Qin period, and the thinkers’views on the ritual and music culture is associated with philosophical thoughts in the pre-Qin period. Therefore, the Philosophy in the pre-Qin period provided ideological foundation for design aesthetics in the pre-Qin period, which were inseparable. The philosophical issues of Tao and Qi,Qi and Yong, Wen and Zhi,Xiang and Yi has reached the core thoughts of design aesthetics in four dimensions of the ontology,function, form and thinking,which has important significance for design aesthetics in the pre-Qin period.Firstly, the philosophical view on the relation between Tao and Qi has shed light on ontology of design aesthetics. In the thinkers’view,Tao-Qi is all-in-one.Tao is the ontology of Qi, and Qi is the appearance of Tao. Although the Qi refers to everything visible and sensible,not only limited to implements, however, it undoubtedly includes all kinds of implements, which associate the discussion about the relation between Tao and Qi with the discussion about design of all kinds of implements.On the one hand, Qi is the appearance of Tao in nature, that is to say, the design and making of utensils should follow Tao in nature, such as ecology and material influenced by climate and environment. The process of making utensils is the function of Tao in nature, which embodies an ecological design of human-nature harmony. On the other hand, Qi is the appearance of Tao in human society, that is to say, the design and making of utensils should not only emphasize utility, but also attach importance to inherent social and cultural function, such as respection for hierarchy and order, self-improvement and moral significances. People are cultivated an ideal lifestyle and moral integrity by using utensils to obey social rules. In a word, the ideal aesthetic state of theory of Tao and Qi is the unification between human and nature,human and society.Secondly, the thinkers in the pre-Qin period discusses on the relation between Qi and Yong closely related to design aesthetics, which directly involved utility function of design. Wu Ju, Mo-tse and Han Feizi all emphasize that the utensils making should satisfy people’s everyday needs. In their opinion, the practical utility is primary,which is in accordance with the modern design philosophy of designing for the common people. However,Taosim thinks everything has a nature of its own just like human beings from the standpoint of Tao begets all things of the world, thus, everything has its unique value and function. It may has no practical utility but has great importance of saving itself, that is to say non-utilitarian utilization.The theory of non-utilitarian utilization contains superutility reflections on the relation between human and nature,human and utensils, the value orientation of which has much in common with modern design philosophy, and has significant reference meaning to modern design dilemma. Unlike Taosists,Based on the theory of Qi-Yong, design aesthetics in the pre-Qin period advocated designing principle of people-oriented and making best use of everything.Thirdly, the thinkers in the pre-Qin period discusses on the relation between Wen and Zhi also closely related to design aesthetics. The theories of Wen-Zhi in the pre-Qin period divided into two groups. One is represented by Conficious, who advocated that Wen is in accordance with Zhi, that is to say both Wen and Zhi are necessary and in pursue of the ideal of the unification of Wen and Zhi.The other is represented by Lao-zi,Zhuang-zi, Mo-tse and Han Fei-zi, who viewed Zhi as better than Wen. Lao-zi and Zhuang-zi prefer natural beauty of Zhi, however, Mo-tse and Han Fei-zi attach importance to utility of Zhi. Although the theory of Wen-zhi is not specialized to design, the view on Wen-Zhi were incorporated into design practice of the period and produced a profound influence on design aesthetics. The design aesthetic meaning of theory of Wen is in accordance with Zhi of confucianist manifested the unify of form and moral and aesthetic function. The theory of Wen is superior to Zhi of Lao-zi and Zhuang-zi had an important impact on the appreciation of simplicity and naturally. The theory of Wen is superior to Zhi of Mo-tse and Han Fei-zi develops into the theory of attach importance to utility function.Finally, images abstracting from viewing combined with inventing wares or utensils by adoring images in the book of changes also closely related to design aesthetics, which is an whole designing process from preparation, designing to implementation, and reflects the integrative thinking mode, understanding thinking mode,analogous thinking mode, simplified thinking mode and imitate thinking mode in the design practice. Establishing images to completely reveal the idea. Viewing, abstracting images and then inventing wares or utensils is an whole designing process from preparation Resigning to implementation. Althougn the symbolic thinking of establishing images to completely reveal the idea is specialized to Images, the relation between Xiang and Yi is in accordance with design communication.The symbolic thinking of establishing images to completely reveal the idea embodied the Xiangxingyuyi of communicate way,that is to say, express inherent meaning by tensils’modeling, ornamentation,color and texture.In a Word, the design aesthetics of the pre-Qin period attaches importance to the harmony of human and nature,human,and utensils,emphasizes people-orientation not only pays attention to the utensils’practical utility,but also their cultural value,which are all in accordance with the ideas of ecological design,conception of humanity design and lifestyle design and has great reference meaning to dilemma of modern design. Besides, the design aesthetics of the pre-Qin period manifest Chinese nation improved artifacts design to the philosophical and aesthetic level long before and conducted multi-dimension and deep consideration, which is unparalleled in any other nation in the world.更多还原