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1、中国传统思想对现代工业设计的启示摘要： 21世纪是设计的世纪，工业设计作为策划人们更为合理的生活行为的有效方法而深入人们的生活，它在处理人类与社会、环境的关系上起到重要的作用。中国传统思想对我国古代的器物、建筑等的设计影响深远，也为当代工业设计提供了思想源泉。把传统造物思想包括精神观念、价值体系、行为制度、民族风貌和现代工业设计中的设计观、思维方式、社会风尚融为一体，形成一套在美观实用的基础上拥有本民族文化特色的设计思想。关键字：中国传统思想 造物艺术 工业设计中国传统文化思想在中华民族长期的社会实践和中国历代伟大思想家的概括、提炼中交融、凝聚、会通、更新，形成了独立于世界民族之林的基本精神。
2、中国 “天人合一”、“器以载道”的造物思想为现代设计提供了可以借鉴和传承的精神宝库。中国的工业设计应在保持文化连续性的基础上开拓创新，以适应新时代人的精神和物质需求。从现存的文献与实物的考察中，大致可以对中国传统思想归纳出以下几个基本特点：1中国传统思想的根基“礼乐制度”中国文化史上，周公的礼乐制度作为一种顽强的封建伦理观念，对中国文化的精神面貌与基本审美观念的形成产生了极大的影响。远古图腾歌舞，巫术礼仪进一步完备和分化，到了以周公为代表的西周统治者继承、完善从而系统地建立了一套关于“礼”、“乐”的固定制度。“礼”、“乐”制度都是与美学相连。首先是“礼”。“礼”是一套从祭祀到起居，从军事、政治
3、到日常生活的制度等礼仪的总称。它的基本特点是从外在行为、活动、动作、仪表上对个体所做出的强制性的要求、限定和管理。通过对个体行为规范的约束，从而保证群体组织的稳定和统一。“礼”制的核心意味着一个新的统治重心由“神”主宰转移到“天子”，确定了从贵族集团共治到君主专制的重要制度改变。而中国传统造物制度在其“礼”制的影响下，以物质化的形态进一步形成和演化。“礼”制是对人的日常行为活动的约束和规范，反映到物质化的表现就存在着仪容、动作、程式等感性形式方面。这方面与“美”有关。所谓“习礼”，就包括对各种动作、行为、表情、言语、服饰、色彩等一系列秩序的形式化要求。就器物的组合关系而言，在青铜器上就有着相当
4、明晰的反映。周代以食器代替酒器为礼器，并开在器物上出现记载功绩与赏赐册命的铭文，以宣示、强化君主贵族的恩典与功德的力量。在此基础上，逐渐形成了具有鲜明等级划分的“九鼎”制度。从“九鼎八簋”依此递减体现商代贵族的等级差异。在“礼乐”制度的影响下，古代造物艺术色彩不在是单纯的一种视觉、感性的知觉形式，而成为一种象征意义的情感阐述。中国古代社会的等级制度的色彩观念秩序，在建筑及服饰上体现深刻。皇室贵族宫廷的建筑多采用黄瓦红墙，服饰也以红黄色调为主；而民宅则多采用青砖黑瓦，服饰则以青、蓝、褐等布衣。同时，对官服的色彩进行了严格的规定，不同身份等级的官员其穿着在造型、色彩、质地、装饰上大有不同，黄袍被当
5、作帝王的专有服饰色彩，而“品服”制度，则是以颜色来区别等级的。古代社会，尊卑贵贱各有等第，造物就是等级制度的物质体现，从材料到品种，从图案到配色，高下有别，不可逾越。因此，礼乐制度是中国几千年来政治制度上的一个核心，中国传统造物制度由此在这个理念下打下了深刻的烙印。中国传统造物制器，物必饰图，图必有意，通过礼制把物充分系统化来使物的组合关系、装饰、内涵、功能形成一个有着深层意义结构的系统体系。2中国传统“天人合一”思想天人合一是中国传统文化发展中提出的一个重要的思想，反映了和谐的社会观和自然观。这一思想在儒、道、释等诸家言论中皆有体现。儒家的伦理次序是天地君亲师，可见天地之尊。孔子就提出了“和
6、为贵”、“乐同和”、“和而不同”的思想。从伦理道德价值中提出人与人，人与社会的和谐一致。易传说：“天行健，君子以自强不息天地之大德曰生”。老子说：“人法地，地法天，天法道，道法自然。”而庄子是老子的主要继承者，他的天-人-道的观念与老子的“和谐”说相辅相成。庄子的基本纲领是：“天地与我并生，万物与我为一。”“天地有大美而不言”,这里的天是指自然。所以，儒家所讲的是“自然的人化”，而庄子所推崇的的是“人的自然化”。前者讲的“天人合一”，是用自然来比拟人事、迁就人事、服从人事。庄子的“天人合一”是指人和天的关系不是对立的，不要人为违背自然规律，强调人必须舍弃其社会性，使其自然性不受污染，进而与宇宙
7、同构才能达到与自然合一。这种世界观能够以宽厚包容的眼光来看待万物，以兼容并蓄的精神和悲天悯人的胸怀审视实践改造的对象，师自然与人类和谐共生。“天人合一”的传统文化观也是华夏美学和艺术创作中广泛而长久流行的观念，也被几千年来中国历代艺术家所遵循的美学原则。基于这一原则，古人在审视建筑营造、手工制作等生产实践中，首先要考虑与自然环境的效用关系。中国传统器物模仿自然万物的运行规律，并将这种规律运用到器物设计中。春秋战国考工记中有如下记载：“天有时，地有气，材有美，工有巧。合此四者，然后可以为良”，其中“天时、地气、材美”是以符合自然规律的特点出发，“工巧”是指对器物形态进行加工制作，突出了在造物时人
8、的主观能动性，只有将天工与人工结合才能制造出“良”物，这是一种尊重自然、尊重材质使人与物合一，物与自然同构的造物观。造物，取巧法自然，造物之才，更需取自自然。中国古代把金、木、水、火、土看做是构成世界的五种基本物质元素，并以此构建出五行的观念。天然粘土制成的陶器，是中国古代人们日常生活中使用最为普遍的器具。在造物的实践过程中古代先民逐渐掌握了泥料的自然属性，根据材料本身的性状对泥料淘洗、陈腐和揉练，加以轮制技术，并辅以渗碳工艺，产生了“黑如漆、明如镜、薄如纸、硬如瓷的蛋壳陶”。这就是将自然的工巧，施以人工制为器具的杰作。中国人对自然的的崇拜与敬畏，追求“天人合一“的境界，也体现在造物的形制上。
9、考工记中关于车的设计与制作有过这样的描述：“轸之方也，以象地也。盖之圜也，以象天也。轮辐十三，以象日月也。盖弓二十有八，以象星也。”车盖和车厢的造型比喻“天圆地方”，十三条辐象征日月的交替运动，二十八条伞骨象征二十八条星宿。车厢象征地，车盖象征天，人居其中，形成了天人合一的模式。中国传统的建筑形式也蕴含着深刻的“天人合一”的思想。例如北京天坛：中国古代以九为大，为体现天之至尊，天坛的建筑处处见九，天坛的三层青石台面长度以九计，坛面铺石亦为九为基数。此外，天坛的栏杆阑版也以九递增，上层九块、中层十八块、下层二十七块。其次，天坛有一个最明显的特点，就是用方和圆的几何图形组成了天坛的基本形状。圆的坛
10、，方的墙，外坛墙和内坛墙还构成了一个北圆南方的形状。修建天坛的设计师和建筑工匠，发挥了他们极大的智慧，运用了数字、形状、颜色、名称、布局等多种手法，表现出天的崇高、神圣，以及皇帝与天之间的密切关系，把古人的宇宙观和在天文科学上所取得的成果，融入到了天坛的建筑之中这种宇宙观创造了一种天人和谐的完美意境，成为建筑史上的杰出典范。由此可见，中国人与自然同构的信仰影响到精神文化、物态文化、行为文化、制度文化等各个层面。而在中国传统造物中“天人合一”则体现出各方面高度的和谐统一：实用性和审美性的和谐统一，感性表现与理性规范的和谐统一，材质工艺与意境构造的统一。3中国传统造物的“器以载道”思想中国传统造物
11、有“器以载道”的设计思想，这一思想体现了中国传统设计文化语义价值观。易 系辞上曰：“是故形而上者谓之道，形而下者谓之器。”形是指形制与结构，是器物上可感知的形与质，具有物质性；器强调的是器物的使用功能，具有一定的实用性。形是外在的、具象的，器是内在的、功能的，道是隐喻的、意向的，三者是构成器物设计的三大要素，形成了中国传统的设计系统。因此，器物不仅以外观之美体现古人对形式美的认识，更是通过有形之器传达无形之道，从而突破了器物普遍的物质意义，达到追求人生价值的精神意境。中国古代历史上有“以玉比德”的典故。古代先民在磨石制器的经验中，发现某些坚韧不朽的美石，琢磨后会散发光泽，因而相信这类美石富含精
12、气，称为“玉”。玉有九德，君子以“九德”作为终身治事的行为准则。除了玉的质地、形制之外，纹饰与符号也是可以产生感通法力的元素。所以信奉神玄之鸟的华夏先民，最爱用温润美玉雕刻抽象的或者具象的飞鸟，如红山文化的勾云形佩及山东龙山文化玉圭上的鹰纹等。到了东周秦汉时，圆璧上常雕琢双身动物面等纹饰。因为古人相信圆璧中孔的中心点是天旋宇宙观中永恒不动的北极（太极、泰一），所以两汉的高级贵族下葬时，缝缀各式玉片来包裹亡者的玉匣上，在覆盖人头顶的部位所缝缀的是一件玉璧。因为他们相信亡者的灵魂通过璧之中孔就是通过“天门”能达到永恒不朽的境界。而中国传统瓷器艺术更是中国艺术讲究完整、圆满、和谐、气韵、意境的体现。
13、宋代瓷器就是“境界”之美的最佳典范。汝窑和官窑烧纸出的青瓷是宋代瓷器的精品。其色调似绿非绿，似蓝非蓝，似灰非灰，釉质莹润，光择内含，除大小不一的开片外，几乎不带任何装饰，将装饰的意匠荟萃于温润如玉的釉质和洗炼古雅的造型，“不着一字、尽得风流”，引人深思，发人遐想，把静穆含蓄之美推到了极致。宋瓷的艺术意境，从其造型、装饰和艺术形象中寄托了内在的寓意，如宋瓷含蓄的造型和釉色，象征着一种空灵、静寂境界，代表了“玉境”的文人风范，体现了中国艺术以形写神、寓意深刻的特征和恬淡、含蓄、委婉的东方情调。因此，中国传统造物文化中，经历了从直接模拟自然的形态到模拟自然万物的内在规律以达到和谐，在从对器的认识上升
14、到对道的关怀，从功利实用意义上升到哲学意义，即“以器载道”的美学思想高度。4.中国传统造物思想与现代设计传统造物活动的目的常常是为了满足特定的物质需要和一定的精神愉悦。设计则是研究人为事务的科学，是针对特定目标的求解活动，是运用分析、综合、归纳、推理等多种设计方法以及形象思维、逻辑思维等多种思维方法来创造物的科学行为，是一门以理性的方法和艺术的内涵来为“人”创造新的生存方式和文化观念的科学。随着“民族的才是世界的”的呼声把人们开始再次重视传统文化理念对于设计的独创性和精神价值的重要作用。中国五千年的文化，经历了每个时代的过滤，积淀了每个时代的精华，保留至今成为浓缩的民族特色。但是随着外来文化的
15、冲击和工业时代的来临，许多优秀的传统文化艺术面临灭绝。在工业设计学习传统文化，一方面是为了学习传统文化的精髓，另一方面对于保护、传承文化遗产也起到不可替代的作用。结语:工业设计是为工业生产服务的，它是连接人、产品、环境、社会和自然的中介，设计要具有普遍性，才能为大众所接受。中国传统文化思想特点和民族特色既是与工业设计相衔接的关键，也是民族传统工艺能够被现代生活所借鉴的意义所在。只有清醒意识和理解传统文化的精神内涵，才能在现代设计与传统观念间找到平衡，把传统造物思想包括精神观念、价值体系、行为制度、民族风貌和现代工业设计中的设计观、思维方式、社会风尚融为一体，形成一套在美观实用的基础上拥有本民族
16、文化特色的设计思想。参考文献1尹定邦.设计学概论.湖南：湖南科学技术出版社，2004.2张燕.论中国造物艺术中的天人合一哲学观.J文艺研究，26（6）：363李砚祖.造物之美.M.北京：中国人民大学出版社，2000：83.4罗军.造物艺术的文脉与伦理观念.J设计艺术，2004（1）：68-69.5李泽厚.美学三书.M天津：天津社会科学出版社，2003.6朱光潜.西方美学史. M北京：人民文学出版社，2003.7苏珊朗格.艺术问题. M江苏：南京出版社，2006.8张道一造物的艺术论.M福建：福建美术出版社，1989.9阿木尔巴图. 蒙古美术研究.M沈阳：辽宁民族出版社，1997.10盖山林 .
17、丝绸之路草原民族文化.M乌鲁木齐：新疆人民出版社，2001.11满都夫蒙古族美学史.M沈阳：辽宁民族出版社，2000.12王海霞.中国民间美术社会学.M江苏：江苏美术出版社，1995.The Enlightenment of Traditional Chinese Ideologieson Modern Industrial DesignAbstract: The 21st century is a century of design. Industrial design has entered peoples daily life as an effective method of plan
18、ning more reasonable conduct of life for people, which plays a very important role in coping with the relationship between humans, society and environment. Traditional Chinese ideology has a profound influence on Chinas antique utensils and architecture. Meanwhile, it has provided sources of ideas f
19、or modern industrial design. It integrated many traditional ideologies of creation art including mental concepts, value systems, standards of conduct and ethnic styles and features together with the design concepts, modes of thinking and social fads, with which to take the form of a set of design id
20、eas which is possessed of native ethnic cultural characteristics based on elegance & utility.Keywords: traditional Chinese ideology; creation art; industrial designTraditional Chinese cultural ideology has always been blending, spreading and developing in the long-term social practice of the Chinese
21、 and the summarization and refining process of all previous Chinese thinkers and it has already become the basic spirit that stands proudly in the family of nations. Such Chinese ideologies of creation art as “man is an integral part of nature” and “utensils are meant to convey truth” have provided
22、referential and inheritable spiritual treasury for modern design. Chinas industrial design should keep on innovating while maintaining cultural continuity thereby meeting the spiritual & material demands of the people of the new era. According to literature available and investigations into material
23、 objects, the following fundamental features of traditional Chinese ideology can be summarized:1. The foundation of traditional Chinese ideology “system of Chinese rites & music”In the history of Chinese culture, as a kind of obstinate feudal ethics & concepts, Chou Kungs system of Chinese rites & m
24、usic has a profound impact on the spiritual outlook of Chinese culture as well as the formation of basic aesthetic standards. Immemorial totem singing & dancing and mediumistic rites were getting more and more complete and finally became divided. In the times of Western Zhou Dynasty, the rulers of t
25、his dynasty represented by Chou Kung inherited and perfected this and finally systematically established a fixed system related to Chinese rites & music. The system of Chinese rites & music is bound up with aesthetics. The first is “rites”. Rites are a general reference to a set of rites of sacrific
26、e, daily life, military and politics. Their fundamental features are that they make compulsory requirements, restrictions and control of individuals in terms of extrinsic behavior, activities, movements and appearances. Via restrictions on codes of individual conduct, the stability and unity of grou
27、ps and organizations are guaranteed. The core of the system of “rites” signifies that the reigning crux has shifted from “deity” domination to the emperor, which confirms the important institutional alteration from the collegiality of aristocracy groups to autocratic monarchy. However, influenced by
28、 the system of “rites”, the traditional Chinese system of creation art was taking shape and evolving further in the form of materialization.The system of “rites” is the restriction and standard of peoples daily conduct, which involves the aspects of perceptual forms of appearances, movements and pat
29、terns and so on as an expression of materialization. This aspect is relevant to “pulchritude”. Chinese rites and music include formalized requirements for a series of sequences such as various kinds of movements, conduct, expressions, apparel and colors and so on. In terms of the combination relatio
30、nship of utensils, there are very clear reflections of this on bronze wares. In Zhou Dynasty, cooking vessels was substituted for drinking vessels as sacrificial vessels, and inscriptions recording feats and conferring titles of nobility on somebody started to turn up the utensils, thereby declaring
31、 and intensifying the strength of monarchs and aristocrats benevolence and benefaction. On that basis, “Nine ding” system of rigid hierarchies came into being gradually. Hierarchical differences were embodied by progressive decreases in order in “Nine ding and eight gui”.Influenced by the system of
32、Chinese rites & music, hues of ancient creation art became symbolic emotional elaboration besides a simple visual and perceptual form. The hue concepts and sequences of the hierarchy of Chinas ancient society are greatly embodied in architecture and apparel. Yellow tiles and red walls were mostly us
33、ed to build imperial palaces of royal households and aristocrats, while their apparel gave priority to the hues of red and yellow. Meanwhile, ordinary residential houses were usually built with black bricks and black tiles, and the civilians apparel was mainly made of cloth of blue, brown or other c
34、olors. Whats more, there were strict restrictions on the colors of officials dress, which means different ranks of officials differed from one another in the styles, hues, materials and trappings of their dress. The yellow color of imperial robes was regarded as the exclusive color of emperors dress
35、, and the system of costumes was a ranking system based on colors.In the ancient society, however noble or humble someone was, he or she was definitely graded, and creation art was the material manifestation for hierarchy. From material to varieties and from patterns to mixing colors, there were dif
36、ferences between the noble and the humble, which was unbridgeable. Therefore, the system of Chinese rites & music is the core of China thousands of years political systems, and this concept is deeply stamped with the brand by Chinas traditional system of creation art. There were always patterns whic
37、h stood for some meaning on traditional Chinese utensils, thereby systematizing utensils via the system of Chinese rites & music so that the combination relationship, ornaments, connotations and functions of utensils could form a system of a deep-going structure of significance.2. The traditional Ch
38、inese ideology “man is an integral part of nature”“Man is an integral part of nature” is an important ideology raised during the development of traditional Chinese culture, and this reflects harmonious outlooks on society and nature. This ideology is embodied in Confucianism, Taoism and Buddhism. Th
39、e ethic sequence of Confucianism is Jade Emperor, Yama, monarchs, relatives and teachers, which illustrated the sovereignty of Jade Emperor and Yama. Thus, Confucius put forward the ideologies of “harmony is the most precious”, “joy aims at harmony” and “seeking harmony without uniformity”. This pro
40、posed the interpersonal harmony and the harmony of people and society in the value of ethics. It is written in Yizhuan that “as heaven revolves, gentlemen should strive to improve themselvesthe greatest morality in the world is cherishing life”. It is written in Taoism that “people emulate earth, th
41、e earth emulates heaven, heaven emulates the ethics, and the ethics emulate nature.” As the main successor of Laozi, Zhuangzi proposed his concept of “heaven-human-ethics”, which supplemented Laozis concept of “harmony”. Zhuangzis basic creed is that “I coexist with heaven and earth, and all things
42、on earth and I prove to be one.” In terms of “heaven and earth are of indescribable magnificence”, heaven refers to nature here. Therefore, Confucianism advocates “natural humanization”, while what Zhuangzi recommended is actually “naturalization of humans.” The former talks about “man is an integra
43、l part of nature”, which describes and complies with human affairs by means of nature. The concept of “man is an integral part to nature” which was raised by Zhuangzi indicates that the relation between people and heaven is not antagonistic and running counter to natural laws is not advised. This em
44、phasizes that humans must give up their sociality so that their naturality will not be stained and they will integrate naturally with the universe. This sort of world outlook can help people regard everything with a lenient attitude and observe the objects which will be remoulded with the spirit of
45、diversified harmonious coexistence and the mind of bemoaning the state of the universe and pitying the fate of humankind. Finally, nature and humans can coexist harmoniously.The traditional concept of “man is an integral part of nature” is not only a concept of long prevalence in Chinese aesthetics
46、and artistic creation, but also an aesthetical principle all Chinese artists of past dynasties abided by. Based on this principle, the ancients took the utility relationship with the natural environment into account first when examining production practice of construction and handicrafts. Traditiona
47、l Chinese utensils emulated natural laws and applied such laws to utensil designing. It is recorded in Kao kung chi which was written during the Spring & Autumn Period and the Warring States Period that “Making utensils requires conforming to weather, adapting to geographic elements, high-quality ma
48、terial and ingenuous craftsmanship. Only with these four elements can fine utensils be made” Thereof, “weather, geography and material” proceed from characteristics which comply with natural laws, and “craftsmanship” refers to the process and manufacture of forms and shapes of utensils, which gives
49、prominence to peoples subjective initiative during the manufacture process. Only when work of nature and manual work are combined can fine utensils be made. This is a kind of concept of creation art and such concept respects nature and material, thus to integrate humans, utensils and nature.Creation art relies heavily on nature. In ancient China, metal, wood, water, fire and e
