明式家具與新藝術家具現代形式轉化關聯之研究

A Research into the Relevance and the Transformation of the Forms of Modernity in the Ming's and the Art Nouveau Furniture

洪姿鶴(Tzy-Heh Horng)

指導教授 ： 胡寶林

中原大學/設計學院/室內設計研究所/碩士(2003年)

https://doi.org/10.6840/cycu200300300

摘要

摘 要

智識、文化、藝術、文明階段性的演進串連起各個民族及不同文化的整體脈絡，在世代的接替中所衍生出對現代社會文化的刺激及演變，即為一種對時代性的考驗。在東西方文化交流的同時，是互相影響其而演進的。當西方新藝術運動發端之時，為一種反歷史主義、反主流藝術的一種解放運動，向民居及異國文化學習，是為西方設計史中邁向現代主義之始的一個轉折點，為邁向現代主義之始，此運動承接自工業革命以來所主張抗拒機械文明，提昇工藝品質和平民福利不但是沿著「美術與工藝運動（The Arts ＆ Crafts Movement）」的軌跡發展下來，卻是由原先對工業革命的反感由追求自然浪漫轉向對工業接受而邁向理性的現代之路。

值得注意的是此時歐洲多國的設計師、建築師、藝術家也受到博覽會傳播東方藝術影響，歐洲藝文興起了東方主義（Orientalism）熱潮，向日本學習的風尚；然而像東方學習，已早在十八世紀有「中國風」（Chinoiserie）的漆器、花瓶、繪畫及家具的收藏熱和模仿製造。本研究針對新藝術家具之理性風格和中國明式家具的理性簡潔表現之中的設計哲學。同時並探討明式家具及新藝術家具，在歷史文化變遷中，形式與樣式風格的關係類比，以反映其對當代家具的影響。

本研究中透過明式家具的形態、思想、文化、樣式和新藝術家具理性型式的分析比較，在分析的過程中不難發現，不論是明式家具或是新藝術家具已具有二十世紀的現代設計觀、時代造形語彙。明式家具與新藝術家具的簡約機能、機械美學和構件元素的優雅實用具備現代思潮之前衛性，當代家具現代性之始直至今日的藝術化多元性呈現亦延續了多項新藝術運動及明式家具的簡約和優雅形式。

關鍵字

現代家具 ； 新藝術運動 ； 當代家具 ； 明式家具

並列摘要

Abstract

The evolutional phase of wisdom, culture, art, and civilization intertwines the sequences of different nationalities and cultures. When times go by, it brings out stimulations and evolutions to modern social culture and becomes a challenge of the day. The interflow between Eastern and Western culture is a process of coordination and assimilation. The enlightenment of the Art Nouveau, an champion that against historicism and mainstream art, is regarded as the turning point and the beginning of the Modernism. This champion was derived not only from the Industrial Revolution that against modern mechanism and advocated the quality of crafts and social reform, but also from the trail of the Arts & Crafts Movement, and finally form expressing the love of nature and romantic came to accept and utilize the development of industry that aimed to the gate of modernity rather than oppose it.

The more important thing is that, however, it was a period of fervors toward the Eastern Art, through international expo, which blew out a wave of learning from Japanese arts, and lots of designers, architects, and artists in Europe were under Eastern influence. Viewing back this phenomenon, these was is the 18th century a trend of learning and imitating from Chinese arts including painting, crafts, lacquer wane and furniture which so called Chinoiserie. Therefore, the research focuses on the interaction between the philosophy of the rational style of the Art Nouveau Furniture and the concise style of the Ming’s Furniture. The research also discusses the analogous relations of forms and styles, the reflections toward the essence of interior contemporary furniture, the spirits of furniture, and the coexistences of modern spaces, in the Ming’s Furniture and the Art Nouveau Furniture with the changes of the times.

The research analyzes the forms, ideas, cultures, stylishness of the Ming’s Furniture and the rational forms of the Art Nouveau Furniture. We can find out that both of them have the 20th century’s designing concepts and epochal characteristics. Derived from the Ming’s Furniture and the Art Nouveau Furniture, the Contemporary Furniture present a multiple and up-to-date characteristics such as simplicity, functionality, mechanic aesthetic and elegant. As a result, we could find some epitomes of the Ming’s and the Art Nouveau Furniture in the Contemporary Furniture design. With the transformation of the Contemporary Furniture, the spirits, forms, and stylishness of furniture designs could sustain.

並列關鍵字

Contemporary Furniture ； The Ming’s Furniture ； Art Nouveau Furniture ； Modern Furniture

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