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作 者:莫哲琼 王奕雯 季铁[1] MO Zheqiong;WANG Yiwen;JI Tie(School of Design,Hunan University,Changsha,Hunan,410082,China;School of Humanities and Social Science,Hong Kong University of Science and Technology,Hong Kong,999077,China)
机构地区:[1]湖南大学设计艺术学院,湖南长沙410082 [2]香港科技大学人文社会科学学院,中国香港999077
出 处:《家具与室内装饰》2025年第2期106-111,共6页Furniture & Interior Design
基 金:国家社会科学基金重点项目(20AG011);国家艺术基金资助项目(2023-A-05-097-551)。
摘 要:本文旨在探讨明式文人书房“天人合一”的核心设计理念及其实现方式。通过运用文献研究法、图像分析法和物质文化研究法,系统考察明代文人书房的文献记载、图像资料及有关文物。研究发现,明代文人是从时间、空间、道德三个维度,在对天时、天场、天德的拟真中,将书房塑造为一个天人合一、气韵生动的道德文化空间:仿天时体现在按月令更替书画、按四时更换花木;拟天场是通过选址外部与自然环境相连,内部用天然材料、仿生形制、自然纹样等营造;法天德则强调以礼制规范空间秩序,以朴素自然为审美追求。这种对天的多维度效仿,使明式书房不再仅是静态的物质空间,更是滋养文人、连接“天”与“人”的精神场域,这一发现为当下博物馆与私人住宅中“中国书房”的还原与再设计提供了新的理论视角。This paper aims to explore the design philosophy of“unity of man and nature”in Ming-style studies and its realization ways.Through literature review,image analysis,and material culture research methods,this study systematically examines the historical documents,image materials,and relevant artifacts of Ming-style studies.The research finds that scholars of the Ming Dynasty shaped their studies into a moral and cultural space where man and nature were united as one,by drawing from three dimensions:time,space,and morality,and through the simulation of Tianshi(Heavenly Time),Tianchang(Heavenly Space),and Tiande(Heavenly Virtue).Tianshi was manifested through monthly rotation of paintings and seasonal changes of plants;Tianchang was achieved by connecting the exterior with natural surroundings and using natural materials,bionic forms,and natural patterns in interior design;Tiande emphasized spatial order through ritual norms and pursued simplicity as aesthetic principles.This multi-dimensional simulation of heaven transformed Ming-style studies from static physical spaces into spiritual realms that nurtured scholars and bridged man and nature.These findings provide new theoretical perspectives for the restoration and redesign of“Chinese study”in contemporary museums and private residences.
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