从“取象比类”到“取象造物”——先秦楚国漆器中的仿生设计思想探微  

From Image-Analogy to Image-creation —Research on Bionics Design Thought of Chu Lacquer

作　　者：张宗登[1] 王丹[1] Zhang Zongdeng;Wang Dan

机构地区：[1]湖南工业大学,湖南株洲412007

出　　处：《中国生漆》2018年第1期11-15,43,共6页Journal of Chinese Lacquer

基　　金：湖南省社科基金项目(17YBA358);湖南省教育厅优秀青年项目(16B073);湖南省社科联项目(XSP17YBZZ028)

摘　　要："取象比类"是我国传统科学中应用非常普遍的思维方式,楚国漆器的仿生设计思想遵循的就是"取象比类"的思维方式。楚国漆器仿生设计的造物逻辑是"取象——比类——造物",可分为"无形"比类与"有形"比类两种造物方法,其造物方式受道家"师法自然"、"以天合天"、"道技合一"等理念的指导与影响,具有较强的时代特征,对秦以后漆器制作产生了重要的影响。Image-Analogy is a very common way of thinking in the traditional science of China. The bionic design idea of Chu lacquer follows the thinking mode of Image-Analogy. The creation logic of bionic designing on Chu lacquer is from the image to the comparison,again to the creation,which can be divided into ＂invisible＂analogy and ＂visible＂analogy. The way of creation on Chu lacquer is guidede and influenced by Taoist thought,such as ＂Natural imitation＂,＂Harmony＂and ＂The combination of Dao and technology＂,and so on. With the strong characteristics of the times,it has an important influence on the production of lacquer ware after the Qin Dynasty.

关 键 词：取象比类 取象造物 师法自然 仿生设计 楚国漆器 

分 类 号：J527[艺术—艺术设计]