传统造物观下的竹具创新研究 英文标题:Research on Bamboo Innovation in Traditional Creation

我国造物历史源远流长，不仅在制作工艺上达到炉火纯青的地步，且美学品位让人感觉别有一番境界，是中华文明不可或缺的组成部分。传统造物美学观念建立在中国哲学基础上，以儒道思想为代表的中国文化，强调了器物制作和设计贵在尚用。由于受到中国审美文化的影响，中国古代造物中处理材料和解决设计问题时往往强调要“巧”和“妙”。“巧”即“巧法造化”，“妙”即“材美工巧”，具体在造物进程中表现出来的就是崇尚自然，顺应自然规律，遵循自然物性，因势利导、因材施艺，将天然材料的特性与匠人独具匠心、出神入化的技艺行云流水般的结合起来，达到“天工”与“人工”浑然一体的境界。中国传统造物美学的风格特点是含蓄优雅，优秀的造物设计强调意蕴，重在神韵，视觉上耐人寻味，余韵悠长。竹具的历史在我国已经存在数百年，特别是在长江流域和黄河流域一带，竹制家具及用品充满了日常生活的各个角落，渐渐地竹子成了人们生活的一部分，后来慢慢演变成为竹文化。我国竹文化是中华文明的代表之一，当中不仅蕴含着丰富的审美价值，其本身不可小觑的文化内涵为我们的研究提供了一笔宝贵的财富。所以中国竹文化也是本研究探讨的话题之一，竹文化与竹家具之间有着不可分割的联系，通过阐述两者间的关系可以清楚了解到竹文化始终影响着竹家具的形式、设计等方面，而竹家具反过来也成了竹文化举足轻重的一方面。也正是在这样的条件下，对于竹家具的创新设计有着重要的意义，竹家具的创新始终离不开竹文化。随着技术革命更新迭代，社会文明的不断发展，中国传统竹文化在左右夹击之下显现疲软态势，受到较为广泛的影响，特别是家具设计制作方面。现代竹家具在这点上已经进行了多方面的改进，却依然然不被大众所了解。如何改善大众传统认知中对竹家具的刻板印象，竹家具应该如何融合吸收传统造物观并适应当今社会的前进趋势，是本篇论文中所要研究的主导思想。

China has a long history of craftsmanship. Its production techniques have reached a perfected level, and its aesthetic taste boasts a unique realm, making it an indispensable part of Chinese civilization. The traditional aesthetic concept of craftsmanship is rooted in Chinese philosophy. Chinese culture, represented by Confucianism and Taoism, emphasizes that the core of utensil making and design lies in practicality. Influenced by Chinese aesthetic culture, ancient Chinese craftsmanship often emphasizes "qiao" (ingenuity) and "miao" (exquisiteness) when handling materials and solving design problems. "Qiao" refers to "emulating nature with ingenuity", while "miao" refers to "superior materials and exquisite craftsmanship". In the process of craftsmanship, this translates to advocating nature, conforming to natural laws, following the inherent properties of materials, making the most of circumstances and adapting techniques to the material. It seamlessly combines the characteristics of natural materials with the ingenious and superb skills of craftsmen, achieving a state where "natural craftsmanship" and "human artistry" are perfectly integrated. The aesthetic style of traditional Chinese craftsmanship is reserved and elegant. Excellent craftsmanship designs emphasize connotation and focus on charm, leaving lasting visual appeal and endless aftertaste. Bamboo utensils have a history of hundreds of years in China. Especially in the Yangtze River and Yellow River basins, bamboo furniture and daily necessities have permeated every aspect of people's daily lives. Gradually, bamboo became an integral part of people's lives, and eventually evolved into bamboo culture. Chinese bamboo culture is one of the representatives of Chinese civilization. It not only contains rich aesthetic value, but its substantial cultural connotation also provides a valuable asset for our research. Therefore, Chinese bamboo culture is one of the topics discussed in this study. There is an inseparable connection between bamboo culture and bamboo furniture. By elaborating on the relationship between the two, it is clear that bamboo culture has always influenced the form, design and other aspects of bamboo furniture, while bamboo furniture has in turn become a significant part of bamboo culture. Under such circumstances, the innovative design of bamboo furniture holds important significance, and the innovation of bamboo furniture is always inseparable from bamboo culture. With the iteration of technological revolutions and the continuous development of social civilization, traditional Chinese bamboo culture has shown a weakening trend under dual pressures and has been widely affected, especially in the field of furniture design and production. Modern bamboo furniture has undergone various improvements in this regard, but it is still not widely understood by the general public. How to improve the public's stereotypical impression of bamboo furniture, and how bamboo furniture should integrate and absorb traditional craftsmanship concepts and adapt to the development trends of modern society, is the core idea to be studied in this thesis.