【摘要】 明清竹家具是中国传统竹家具发展的高峰期,在当前"以竹代塑"背景下,其优秀的造型艺术,尤其是有别于硬木榫卯结构的结构形式为竹家具的创新设计提供了一定的文化源泉。文章依据组成家具的结构部件是否必要的原则,梳理归纳出明清竹家具结构形式可以分为主体结构形式和辅助结构形式2类。同时,从罗兰·巴尔特符号学"外延/内涵"二元理论出发,论述了明清竹家具主体结构形式符号以外延意义为主、辅助结构形式符号以内涵意义为主,进而总结出主体结构形式符号的外延意义是实用功能性的、辅助结构形式符号的内涵意义是审美装饰性的。对于明清竹家具结构形式符号学视角的考察,一方面丰富了明清竹家具研究的理论系统,另一方面可以为当前竹家具的创新设计提供造型意义传达的实践指导。更多还原

【Abstract】 Bamboo furniture in Ming and Qing dynasties is the peak of the development of Chinese traditional bamboo furniture. Under the current background of “replacing plastic with bamboo”, its excellent formative art, especially the structural form which is different from the rigid wood mortise and tenon structure, provides a certain cultural source for the innovative design of bamboo furniture. According to the principle whether the structural components of furniture are necessary, the paper concludes that the structural forms of bamboo furniture in Ming and Qing dynasties can be divided into main structural forms and auxiliary structural forms. At the same time, the paper uses the dual theory of “denotation/connotation” of Roland Barthes’ semiotics to elaborate that the main structural form symbols of bamboo furniture in the Ming and Qing dynasties are mainly denotative and the auxiliary structural form symbols are mainly connotative, and then summarize that the denotation meaning of the main structure form symbols is practical and functional, and the connotation meaning of the auxiliary structure form symbols is aesthetic and decorative. The study of bamboo furniture structure in Ming and Qing dynasties from the semiotics perspective not only can enrich the theoretical system of the research on bamboo furniture in Ming and Qing dynasties but also can provide practical guidance for the innovative design of current bamboo furniture.更多还原