全文总字数：12603字
苏式家具的造物用物观在明清更迭时期的演变
——以《长物志》和《闲情偶寄》为例
【摘要】江南地区在中国古代因物产丰庶、宁和安定、俊秀云集而形成了极度崇尚士人文化的社会风气。明清时期经济的发达使得手工业和商业在此迅速崛起，江南匠人的造物技法也日趋精湛。辅以人民审美能力的普遍提高，文人积极参与到造物用物之中，盛行当地的家具和室院格局均呈现出形制技法巧夺天工、筋骨精神又极具文人气度的典型特点。同时，造物用物相关的文化典籍在这一时期不断涌现，成为了今人了解当时社会审美和制造工艺的珍贵史料。晚明文震亨所著之《长物志》与初清李渔所作之《闲情偶寄》更是集大成之作。这两部典籍内容翔实，分别记录了明末和清初两个时期的不同造物用物特点，展示了当时士大夫阶层的生活方式、艺术见解以及审物标准。本文尝试通过对这两部典籍中所叙造物用物观念的分析，从社会背景、审美趣味、制造工艺、造型尺度、起居习惯等五个方面对明末清初家具进行对比研究，得出两个时期的区别特点、产生原因和顺承关系。结合现有典籍、实物、图像资料，对江南地区苏式家具的发展方向进行把握，并通过对明清时期文人造物特点、用物格局以及审美风尚三个层面进行分析，研究明清苏式家具与文人的审美趣味之间的联系，为今后中式家具设计、家具制造、家居布局等提供一定的理论基础。
【关键词】明清家具；苏式家具；造物用物观；艺术思想；审美趣味
Abstract: In ancient China, Jiangnan area formed a social atmosphere of advocating scholar culture because of its abundant products, peaceful peace and stability, and handsome gathering. With the development of economy in Ming and Qing Dynasties, handicraft industry and Commerce rose rapidly, and the craftsmanship of Jiangnan craftsmen became more and more exquisite. With the general improvement of the people#39;s aesthetic ability, the literati actively participated in the creation of things. The prevailing local furniture and the pattern of rooms and courtyards all showed the typical characteristics of skillful shape and techniques, muscle and bone spirit, and great literati demeanor. At the same time, cultural books and records related to the creation of objects emerged continuously in this period, which has become a precious historical material for people to understand the social aesthetics and manufacturing technology at that time. In the late Qing Dynasty, Zhenheng#39;s 'chronicles of long things' and Li Yu#39;s 'casual love' were the masterpieces. These two books are full-fledged and accurate, recording the characteristics of different objects in the late Ming Dynasty and the early Qing Dynasty, showing the life style, artistic views and standards of examining objects of the scholar officials at that time. This paper attempts to analyze the concept of creation in these two books, and make a comparative study of the furniture in the late Ming and early Qing Dynasty from five aspects, such as social background, aesthetic taste, manufacturing technology, modeling scale, living habits, etc., so as to find out the difference characteristics, causes and consequent relationship between the two periods. Based on the existing literature, material objects and image data, this paper grasps the development direction of Soviet style furniture in Jiangnan area, and analyzes the characteristics of creation, pattern of use and aesthetic fashion of the literati in Ming and Qing Dynasties, and studies the relationship between the Soviet style furniture and the literati#39;s aesthetic taste in Ming and Qing Dynasties, so as to provide some theories for the future Chinese style furniture design, furniture manufacturing, home layout, etc On the basis.
Key words: Ming and Qing Dynasty furniture; Soviet style furniture; view of creation and use of things; artistic thought; aesthetic taste
中国主流的传统审美文化随着朝代更迭和社会观念的革新在不断地进行着蓬勃的、极具生命力的历史演变。每个时期所呈现出来的文化潮流特点，都准确地体现出当时的主流文化精神及其相应的典型民族性格[1]。
从商周时期，以“学在官府”的理念为核心的“官文化”形成了“政学一体”的文化观，“学”从属于“政”的观念在当时人们的思想中已经逐步形成，其所代表的庄重静穆的“雅文化”成为社会审美的共识[2]。春秋战国时期，以孔子等创办私学并积极向民间授教为标志，百家争鸣的社会情势使得社会上多样的文化观念达到空前繁盛的境界[3]。随着私学的兴盛，文化不再是统治阶级的专享，人民文化意识开始萌动觉醒，士人阶级力量也逐渐蓬勃壮大，最终致使以典雅脱俗为显著特点的“士大夫文化”成为社会主流。到魏晋时期，文人山水诗流派作为士大夫文化的代表独树一帜，成为当时社会审美的文化标杆[4]。之后经历数代，士大夫文化吸收了唐代禅学的养分，又经由北宋苏轼等文人的大力推动，在社会上掀起了文人画风行的浪潮，士大夫文化的地位因此得以稳固。以“文人画”为起点，士人审美逐步扩大到了园林、居室、器用等造物艺术的领域中来。其展现出的与诗歌、绘画一致的品调在当时社会备受推崇。而后经历元蒙、朱明以至满清三朝，最终形成了包括诗文、绘画、品茗、饮酒、抚琴、对弈、园林、器物、游历、收藏、品鉴在内的庞大而完整的士大夫文化体系。
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