| 摘要: |
| 目的 基于中国传统儒家人伦理中的“尽善尽美”准则，论证家具设计中审美与实用的统一。 方法 以明式家具为例，从家具设计中的材质、结构、陈设、内涵四个方面，分别论证审美与实用的相统一性。黄花梨木天然纹理传达出自然成趣的审美品格，其韧性充分体现出实用特性；明式家具结构简洁明了，同时满足不同条件的使用要求，俱尽其妙；家具色彩随着环境的不同，选择主色调也有差别，室内多褐色系，户外可选黑色；明式家具造型体现着内敛的性格特征，装饰承载着吉祥寓意，寄托人们美好生活的向望。四个层面从外至内，层层递近，基本涵盖家具设计的各要素。结论 在家具设计艺术中，实用性与审美性是其一物两面，不可分割、不可或缺，并且两者有机统一，实现了家具设计中的尽善尽美。 |
| 关键词: 家具设计 明式家具 材质 造型 家居 内涵 |
| DOI：10.19554/j.cnki.1001-3563.2020.16.056 |
| 分类号:TB472 |
| 基金项目:2019上海市级重点课程建设项目《办公建筑室内设计》（A020201.19.102） |
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| Unity of Beauty and Goodness in Ming-style Furniture Design |
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FAN Ling-yan
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Shanghai Shanda College, Shanghai 201209, China
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| Abstract: |
| The paper aims to demonstrate the unity of aesthetics and practicality in furniture design based on the “Unity of Good and Beauty” rule in the traditional Chinese Confucian ethics. Taking Ming-style furniture as an example, the unity of aesthetics and practicality was demonstrated from the four aspects of material design, structure, furnishings and connotation in furniture design. The texture of scentedwood conveyed a natural and interesting aesthetic character, its toughness reflects practicality; Ming-style furniture had a simple and clear structure, while meeting the characteristics of different conditions of use; furniture colors vary with the environment. Brown was mostly used indoor and black was mostly used outdoors; the Ming furniture style reflected the restrained character. Its decoration carried auspicious meaning, and also entrusted people to look forward to a better life. The four levels covered the various elements of furniture design from outside to inside in a progressive way. In the art of furniture design, practicality and aesthetics like two sides of a coin. They are inseparable and indispensable. They are unified to realize perfect furniture design. |
| Key words: furniture design Ming-style furniture material shape home connotation |
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