论 文 摘 要

    本文旨在对先秦时期在器物制造与设计方面所达到的历史经验作一番相对完整的整理与阐释，达成对我国古代设计传统的重新理解和认识，以便为我国当代设计艺术的理论与实践引入一个底蕴深厚的史的维度，为疏通我国古代设计传统与当代设计发展之间的源流关系做一个基础的理论铺垫与探索。

前言部分是对本文研究课题的总体思考背景的一个交待。其中最基本的问题是：我国古代手工业设计传统是否可能对当代设计发展富有价值和意义？其可能性的范围又有多大？前言部分没有对这些问题作出解答。我们希望能够通过一个相对完整的研究来得到这些问题的答案。

在展开正文的论述之前，我们首先就本文的研究内容与方法作了必要的阐明。简单说，我们打算以先秦工艺文献作为切近先秦器物设计历史经验的门径，并依据专题化的方式来展开这项研究。这些文献主要有两类：一是先秦工艺专著《考工记》，二是先秦儒、道、墨三家学说——其中包含着关涉器物制造与设计的丰富思想。专题的产生则直接来自文献资料所覆盖的相关内容，包括以下三大部分：一、工艺造物活动的一般背景；二、器物设计的实际经验与基本原则；三、先秦思想中蕴涵的设计思想。

第二章着重讨论春秋战国时期手工业的发展状况及其基本特性，以便为下文论述先秦器物设计及当时思想界的反思提供一个相对完整的历史背景。在此本文得到了以下主要结论：一方面，从西周到春秋战国时期，我国手工业生产在一定程度上摆脱了封建政治的桎梏，转变成为社会经济一个相对独立的要素，这使得工艺造物活动同社会生活各主要方面的联系趋于紧密，促使器物的种类与制式跟随社会现实与社会意识的发展变化及时作出反应，从而使器物制造过程中的设计环节的作用得以凸现出来；另一方面，手工业的发展给现实社会带来了诸多效应，例如农业人口流失、奢侈品生产的泛滥、富裕工商阶层的出现等共同加剧了对原有社会秩序的破坏，这一状况复又构成了先秦思想家关注和思考造物活动所当遵循的正确道路的契机。此外，我们还对该时期器物制造和生产中的两种突出的现象（即几种新器物的出现与奢侈品生产的普遍存在）进行了专门的分析和阐释，得到如下基本结论：春秋战国时期器物制造实践的作为就是在诸种客观历史条件与原有制作传统和经验之间、在种种有时候会发生矛盾和冲突的社会意识形态中间找到解决问题的有效办法，而那解决问题的基本方式则就是构成该时期器物设计历史经验的东西，并且，该时期器物设计有一种带有普遍意义的存在样式，即对原有器型进行模仿并加以适当的转换。

第三章从整理器物设计的实际经验和基本原则的立场出发来研读《考工记》。在此，本文主要依据《考工记》对各种器物制作规范的记载，分别就器物在形制、结构、装饰、材料等方面的一般特点进行归纳，进而尝试总结那沉积在手工业制作规范当中的实际设计经验与原则。以器物结构设计为例，我们把《考工记》反映出来的一般设计经验归结为以下要点：一、器物结构部件多为实在的功能部件，而较少出现单纯为了装饰目的的结构，这个特点同先秦成器观念中强调器物的实用性能的价值取向有着明显的联系；二、在保证结构部件具备实际功能的基础上还表现出明显的对耐用性的追求，这个特点是先秦时期即已普遍存在的节约意识的某种反映；三、器物的结构设计还体现出通过综合运用各种材料技术以实现特定目标这样一种解决问题的方式方法，这表明了古代技术同现代技术之间的一致性；四、器物结构虽然较少单纯为了美观的附饰成分，却非常强调对功能部件进行形式上的审美处理。

第四章在“一般成器观念”的名下分别就先秦文献中最为集中地反映先秦成器观念的两种文本进行了阐释——其一为《考工记》总论部分，其二为《周易·系辞》相关于“观象制器”的部分，并据此着重分析和阐释先秦观念对成器活动中的“巧”与“知”（即制作与设计）以及两者间关系的看法，以便探触到先秦成器经验与态度中某些带有根本意义的东西。以后者为例，《周易》提出“观象制器”原本是对造物原始的一个解释，本文的相关阐释则表明了“观象之思”或“创物之知”实际上是人们对器物制造过程中的设计环节的一种领会与把握，同时观象之思也是那使我国造物得以将模仿与象征复合于一体的关键环节和创造性中介。本章专辟 “思想与制作”一节来阐释先秦关于“知”与“巧”所抱观念的意义，在此，我们把先秦的知巧观同古希腊人的看法作了有趣的比较，点明成器观念的形成以及成器活动本身都受到来自一般文化因素的深刻影响，而 “被动与顺应”则是我国本源造物态度中至为深刻的基本要素。

第五、第六两章在整理儒、道、墨三家相关论谈的语境背景及其基本理路的基础上，尝试梳理先秦思想在器物设计评价、形式美学思想以及设计思想方法等方面极为丰富的内涵。以器物设计的形式美学思想为例，相关的论述在先秦思想家本人那里并不是在针对器物形式的审美标准的名下展开，而往往是被笼统地包含在各家关于理想社会的造物原则与标准的论谈当中——实际上，先秦思想家反倒有一个共同的基本立场，即以器物其他维向的价值（或善、或真、或实用价值）来反抗和压抑其审美价值，本文对造成这种状况的原因及其意义作了层层深入的剖析，并对各家思想中包含的形式标准分别进行阐发，主要包括墨家的“利用则止”，儒家的“文质彬彬”、“与众乐乐”，《周易》的“白贲”思想，道家的“大巧若拙”、“为道日损”、“有无之辩”、“大象无形”等。有趣的是，我们发现先秦思想同现当代设计思想之间不谋而合、交相辉映的情况时有发生，例如墨家的“利用则止”同现代功能主义设计、 “白贲”思想同现代设计 “少则多”的美学信条、道家“无为无迹”与当代设计的解构与多元化发展趋势等等，进而点明先秦学术中蕴涵着的设计思想至今仍然富有深刻的启示意义。

最后一章在“成器之道”的名下对全文作了总结。我们将这个“道”界定为器物设计中作为原因、原理来起作用的东西，接着从它“显身为象”（即设计的存在样态）、“凝结为物”（即实际的设计经验）、“彰显其精”（即设计实践原则）、“固持其信”（即设计思想与观念）四个层面来对这个“道”的具体内涵分别作了总结和论述，指明其象、其物、其精、其信也当是那构成先秦器物设计之历史经验的东西。

Abstract

The present paper aims to approach the historical design experience in light of the ideas and principles of ware-making activity of pre-Ch’in Days. It will facilitate re-understanding with fresh ken of ancient design culture, thus introduce a history dimension to reflection upon present industry design and make a bridge between the ancient tradition and future development of design in China.

The preface gives a brief account of the reflection base for the present study. Is there anything concealed in ancient handicrafts still thinking-provoking? Can traditional design principles and ideas still shed new light on contemporary design? These questions are left unanswered here, which we might find the answers or some clues through the following study.

Prior to the main context, an explication is made about the subject and treatment. It shows that the following study will be unfolded as several special themes upon pre-Ch’in ware-making lessons. Those themes are drawn from the coverage of the related pre-Ch’in literature in three levers, that is, the general situation of pre-Ch’in ware-making activity, the practical design experience and principles implied in it, and the ideological reflection upon ware-making and design from pre-Ch’in thinkers. As for the pre-Ch’in literature, there mainly refers to two kinds of works, one is Kao-Gong-Ji, the sole craft monograph of pre-Ch’in Days, the other are the basic writings of pre-Ch’in ideological schools.

The second chapter focuses upon the evolvement of handicraft during the period from Xi-Chou to Dong-Chou so as to provide an overall background for the following discussion. Here we draw two main conclusions as following. On the one hand, the role of design concealed in ware-making activity is manifested as ware patterns fluctuate with the change of social actuality. On the other hand, pre-Ch’in intellectual circle is concerned with ideal principles of ware-making activity as it has erected more and more obvious effects upon society. In particularly, two typical phenomena are selected out to analyze and explain. This serves to show that design awareness of that period is meant to seek effective resolution to the problems arisen from contradiction between external reality and ware-making tradition and from the conflict among various psychological intendances. It is made clear also that the basic logic underlying the problem-resolution process is just what constitutes the practical design experience.

Chapter 3 is an approach to Kao-Gong-Ji in terms of design experience and principles. Generalization is made here of design principles in pattern, structure, ornament and material respectively according to the true records of Kao-Gong-Ji. Take the case of structure design as an example, general conclusions are reached as following: 1. Most ware components are functional ones rather than ornaments, which well meet the pre-Ch’in concept that wares be made on purpose of utilization; 2. Besides function, endurance is sought for as well, which is rooted in the widespread economy awareness of pre-Ch’in Days; 3. Structure design is also characterized by such a basic logic of problem-resolution, that is, drawing upon various available materials and constructing techniques to meet predetermined requirements, which somewhat remains true to modern design; 4. With few ornamental attachments, the emphasis of formal design is laid upon making aesthetic treatment to functional components.

With an attempt to survey the general understanding of and essential attitude towards ware-making activity, there gives an interpretation of the concepts of Zhi and Qiao (creativity and experiment, or thinking and making in ware-making activities) wrapped in two contexts in chapter 4. One is the general remark of Kao-Gong-Ji, the other including several quotations from the book of Chou-Yi about the idea of Guan-Xiang-Zhi-Qi (Yi-image-observing as the origin of ware-making ). Take the later as an example, that idea is put forward in Chou-Yi as an explanation for the origin of artificial objects. And the corresponding interpretation made in the dissertation has revealed that Guan-Xiang as a special kind of thinking is in fact a special grasp and understanding of the ring of design within the chain of ware-making . It is discussed further that this kind of thinking can account for the combination of simulation and symbolization as an out-standing feature in Chinese ware-making tradition. Specially, a separate section Thinking and Making is arranged to clarify the signification of the pre-Ch’in concepts of Zhi and Qiao. An interesting comparison is made here of the per-Ch’in concepts with those of ancient Greek, which serves to show that either ware-making activity or its concept is affected by general culture, and passivity and obedience is most essential to Chinese original attitude towards ware-making activity.

In the following two chapters, an interpretative read is made to related arguments in the pre-Ch’in classic writings in order to come off the profound thoughts about design evaluation and formal aesthetics. Take the part about formal aesthetic thoughts for example, there gives detailed interpretation about the ideas of pre-Ch’in thinkers. There contains Li-Yong-Ze-Zhi (Form should be defined by function) from Mohist school, Wen-Zhi-Bin-Bin (Form and content should be matched up with each other) from the Confucian school, Bai-Bi (Form with no ornament is the highest form) from Chou-Yi, and Da-Xiang-Wu-Xing (Great image has no fixed shape), Da-Qiao-Ruo-Zhuo (Great craft always appears anti-skilled ), Wei-Tao-Ri-Sun (Deep insight comes from de-construction of intrinsic subjectivity) from the Taoist school. We find here some interesting coincidence of the Mohist idea with modern functional design, Bai-Bi concept with the modern design creed of “less is more ”, and the Taoist idea with the de-construction and multivariate trend in contemporary design.

In the name of Cheng-Qi-Zhi-Tao , the final chapter gives a concluding remark of the dissertation. The Tao is defined here as the law taking effect in ware-making and design. Its donation is summarized in four terms, that is, Xian-Shen-Wei-Xiang (showing-up as design patterns), Ning-Jie-Cheng-Wu (gathering as design experience), Zhang-Xian-Qi-Jing (opening as design principles), and Gu-Chi-Qi-Xin (inspiring design ideas). The wholeness of these fours consists of what the historical design experience of pre-Ch’in Days lies in.