外文翻譯--中國傳統(tǒng)思想對現(xiàn)代工業(yè)設(shè)計的啟示

1、<p>　　中國傳統(tǒng)思想對現(xiàn)代工業(yè)設(shè)計的啟示</p><p>　　摘要： 21世紀(jì)是設(shè)計的世紀(jì)，工業(yè)設(shè)計作為策劃人們更為合理的生活行為的有效方法而深入人們的生活，它在處理人類與社會、環(huán)境的關(guān)系上起到重要的作用。中國傳統(tǒng)思想對我國古代的器物、建筑等的設(shè)計影響深遠(yuǎn)，也為當(dāng)代工業(yè)設(shè)計提供了思想源泉。把傳統(tǒng)造物思想包括精神觀念、價值體系、行為制度、民族風(fēng)貌和現(xiàn)代工業(yè)設(shè)計中的設(shè)計觀、思維方式、社會風(fēng)尚融為一體，形

2、成一套在美觀實用的基礎(chǔ)上擁有本民族文化特色的設(shè)計思想。</p><p>　　關(guān)鍵字：中國傳統(tǒng)思想 造物藝術(shù) 工業(yè)設(shè)計</p><p>　　中國傳統(tǒng)文化思想在中華民族長期的社會實踐和中國歷代偉大思想家的概括、提煉中交融、凝聚、會通、更新，形成了獨(dú)立于世界民族之林的基本精神。中國 “天人合一”、“器以載道”的造物思想為現(xiàn)代設(shè)計提供了可以借鑒和傳承的精神寶庫。中國的工業(yè)設(shè)計應(yīng)在保持文化連續(xù)性的基

3、礎(chǔ)上開拓創(chuàng)新，以適應(yīng)新時代人的精神和物質(zhì)需求。從現(xiàn)存的文獻(xiàn)與實物的考察中，大致可以對中國傳統(tǒng)思想歸納出以下幾個基本特點：</p><p>　　1．中國傳統(tǒng)思想的根基“禮樂制度”</p><p>　　中國文化史上，周公的禮樂制度作為一種頑強(qiáng)的封建倫理觀念，對中國文化的精神面貌與基本審美觀念的形成產(chǎn)生了極大的影響。遠(yuǎn)古圖騰歌舞，巫術(shù)禮儀進(jìn)一步完備和分化，到了以周公為代表的西周統(tǒng)治者繼承、完善從

4、而系統(tǒng)地建立了一套關(guān)于“禮”、“樂”的固定制度?！岸Y”、“樂”制度都是與美學(xué)相連。首先是“禮”?！岸Y”是一套從祭祀到起居，從軍事、政治到日常生活的制度等禮儀的總稱。它的基本特點是從外在行為、活動、動作、儀表上對個體所做出的強(qiáng)制性的要求、限定和管理。通過對個體行為規(guī)范的約束，從而保證群體組織的穩(wěn)定和統(tǒng)一?！岸Y”制的核心意味著一個新的統(tǒng)治重心由“神”主宰轉(zhuǎn)移到“天子”，確定了從貴族集團(tuán)共治到君主專制的重要制度改變。而中國傳統(tǒng)造物制度在其“禮

5、”制的影響下，以物質(zhì)化的形態(tài)進(jìn)一步形成和演化。</p><p>　　“禮”制是對人的日常行為活動的約束和規(guī)范，反映到物質(zhì)化的表現(xiàn)就存在著儀容、動作、程式等感性形式方面。這方面與“美”有關(guān)。所謂“習(xí)禮”，就包括對各種動作、行為、表情、言語、服飾、色彩等一系列秩序的形式化要求。就器物的組合關(guān)系而言，在青銅器上就有著相當(dāng)明晰的反映。周代以食器代替酒器為禮器，并開在器物上出現(xiàn)記載功績與賞賜冊命的銘文，以宣示、強(qiáng)化君主貴族

6、的恩典與功德的力量。在此基礎(chǔ)上，逐漸形成了具有鮮明等級劃分的“九鼎”制度。從“九鼎八簋”依此遞減體現(xiàn)商代貴族的等級差異。</p><p>　　在“禮樂”制度的影響下，古代造物藝術(shù)色彩不在是單純的一種視覺、感性的知覺形式，而成為一種象征意義的情感闡述。中國古代社會的等級制度的色彩觀念秩序，在建筑及服飾上體現(xiàn)深刻?；适屹F族宮廷的建筑多采用黃瓦紅墻，服飾也以紅黃色調(diào)為主；而民宅則多采用青磚黑瓦，服飾則以青、藍(lán)、褐等布衣

7、。同時，對官服的色彩進(jìn)行了嚴(yán)格的規(guī)定，不同身份等級的官員其穿著在造型、色彩、質(zhì)地、裝飾上大有不同，黃袍被當(dāng)作帝王的專有服飾色彩，而“品服”制度，則是以顏色來區(qū)別等級的。</p><p>　　古代社會，尊卑貴賤各有等第，造物就是等級制度的物質(zhì)體現(xiàn)，從材料到品種，從圖案到配色，高下有別，不可逾越。因此，禮樂制度是中國幾千年來政治制度上的一個核心，中國傳統(tǒng)造物制度由此在這個理念下打下了深刻的烙印。中國傳統(tǒng)造物制器，物必

8、飾圖，圖必有意，通過禮制把物充分系統(tǒng)化來使物的組合關(guān)系、裝飾、內(nèi)涵、功能形成一個有著深層意義結(jié)構(gòu)的系統(tǒng)體系。</p><p>　　2．中國傳統(tǒng)“天人合一”思想</p><p>　　天人合一是中國傳統(tǒng)文化發(fā)展中提出的一個重要的思想，反映了和諧的社會觀和自然觀。這一思想在儒、道、釋等諸家言論中皆有體現(xiàn)。儒家的倫理次序是天地君親師，可見天地之尊?？鬃泳吞岢隽恕昂蜑橘F”、“樂同和”、“和而不同”的

9、思想。從倫理道德價值中提出人與人，人與社會的和諧一致?！兑讉鳌氛f：“天行健，君子以自強(qiáng)不息…天地之大德曰生”?！独献印氛f：“人法地，地法天，天法道，道法自然。”而莊子是老子的主要繼承者，他的天-人-道的觀念與老子的“和諧”說相輔相成。莊子的基本綱領(lǐng)是：“天地與我并生，萬物與我為一?！薄疤斓赜写竺蓝谎浴?這里的天是指自然。所以，儒家所講的是“自然的人化”，而莊子所推崇的的是“人的自然化”。前者講的“天人合一”，是用自然來比擬人事、遷就人

10、事、服從人事。莊子的“天人合一”是指人和天的關(guān)系不是對立的，不要人為違背自然規(guī)律，強(qiáng)調(diào)人必須舍棄其社會性，使其自然性不受污染，進(jìn)而與宇宙同構(gòu)才能達(dá)到與自然合一。這種世界觀能夠以寬厚包容的眼光來看待萬物，以兼容并蓄的精神和悲天憫人的胸懷審視實踐改造的對象，師自然與人類和諧共生。</p><p>　　“天人合一”的傳統(tǒng)文化觀也是華夏美學(xué)和藝術(shù)創(chuàng)作中廣泛而長久流行的觀念，也被幾千年來中國歷代藝術(shù)家所遵循的美學(xué)原則?；?/p>

11、這一原則，古人在審視建筑營造、手工制作等生產(chǎn)實踐中，首先要考慮與自然環(huán)境的效用關(guān)系。中國傳統(tǒng)器物模仿自然萬物的運(yùn)行規(guī)律，并將這種規(guī)律運(yùn)用到器物設(shè)計中。春秋戰(zhàn)國《考工記》中有如下記載：“天有時，地有氣，材有美，工有巧。合此四者，然后可以為良”，其中“天時、地氣、材美”是以符合自然規(guī)律的特點出發(fā)，“工巧”是指對器物形態(tài)進(jìn)行加工制作，突出了在造物時人的主觀能動性，只有將天工與人工結(jié)合才能制造出“良”物，這是一種尊重自然、尊重材質(zhì)使人與物合一，

12、物與自然同構(gòu)的造物觀。</p><p>　　造物，取巧法自然，造物之才，更需取自自然。中國古代把金、木、水、火、土看做是構(gòu)成世界的五種基本物質(zhì)元素，并以此構(gòu)建出五行的觀念。天然粘土制成的陶器，是中國古代人們?nèi)粘Ｉ钪惺褂米顬槠毡榈钠骶?。在造物的實踐過程中古代先民逐漸掌握了泥料的自然屬性，根據(jù)材料本身的性狀對泥料淘洗、陳腐和揉練，加以輪制技術(shù)，并輔以滲碳工藝，產(chǎn)生了“黑如漆、明如鏡、薄如紙、硬如瓷的蛋殼陶”。這就是

13、將自然的工巧，施以人工制為器具的杰作。</p><p>　　中國人對自然的的崇拜與敬畏，追求“天人合一“的境界，也體現(xiàn)在造物的形制上?！犊脊び洝分嘘P(guān)于車的設(shè)計與制作有過這樣的描述：“軫之方也，以象地也。蓋之圜也，以象天也。輪輻十三，以象日月也。蓋弓二十有八，以象星也?！避嚿w和車廂的造型比喻“天圓地方”，十三條輻象征日月的交替運(yùn)動，二十八條傘骨象征二十八條星宿。車廂象征地，車蓋象征天，人居其中，形成了天人合一的模式

14、。中國傳統(tǒng)的建筑形式也蘊(yùn)含著深刻的“天人合一”的思想。例如北京天壇：中國古代以九為大，為體現(xiàn)天之至尊，天壇的建筑處處見九，天壇的三層青石臺面長度以九計，壇面鋪石亦為九為基數(shù)。此外，天壇的欄桿闌版也以九遞增，上層九塊、中層十八塊、下層二十七塊。其次，天壇有一個最明顯的特點，就是用方和圓的幾何圖形組成了天壇的基本形狀。圓的壇，方的墻，外壇墻和內(nèi)壇墻還構(gòu)成了一個北圓南方的形狀。修建天壇的設(shè)計師和建筑工匠，發(fā)揮了他們極大的智慧，運(yùn)用了數(shù)字、形狀

15、、顏色、名稱、布局等多種手法，表現(xiàn)出天的崇高、神圣，以及皇帝與天之間的密切關(guān)系，把古人的宇宙觀和在天文科學(xué)上所取得的成果，融入到了天壇的建筑之中這種宇宙觀創(chuàng)造了一種天人和諧的完美意境，成為建筑史上的杰出典</p><p>　　由此可見，中國人與自然同構(gòu)的信仰影響到精神文化、物態(tài)文化、行為文化、制度文化等各個層面。而在中國傳統(tǒng)造物中“天人合一”則體現(xiàn)出各方面高度的和諧統(tǒng)一：實用性和審美性的和諧統(tǒng)一，感性表現(xiàn)與理性規(guī)

16、范的和諧統(tǒng)一，材質(zhì)工藝與意境構(gòu)造的統(tǒng)一。</p><p>　　3．中國傳統(tǒng)造物的“器以載道”思想</p><p>　　中國傳統(tǒng)造物有“器以載道”的設(shè)計思想，這一思想體現(xiàn)了中國傳統(tǒng)設(shè)計文化語義價值觀?！兑?·系辭上》曰：“是故形而上者謂之道，形而下者謂之器。”形是指形制與結(jié)構(gòu)，是器物上可感知的形與質(zhì)，具有物質(zhì)性；器強(qiáng)調(diào)的是器物的使用功能，具有一定的實用性。形是外在的、具象的，器是內(nèi)

17、在的、功能的，道是隱喻的、意向的，三者是構(gòu)成器物設(shè)計的三大要素，形成了中國傳統(tǒng)的設(shè)計系統(tǒng)。因此，器物不僅以外觀之美體現(xiàn)古人對形式美的認(rèn)識，更是通過有形之器傳達(dá)無形之道，從而突破了器物普遍的物質(zhì)意義，達(dá)到追求人生價值的精神意境。</p><p>　　中國古代歷史上有“以玉比德”的典故。古代先民在磨石制器的經(jīng)驗中，發(fā)現(xiàn)某些堅韌不朽的美石，琢磨后會散發(fā)光澤，因而相信這類美石富含精氣，稱為“玉”。玉有九德，君子以“九德”

18、作為終身治事的行為準(zhǔn)則。除了玉的質(zhì)地、形制之外，紋飾與符號也是可以產(chǎn)生感通法力的元素。所以信奉神玄之鳥的華夏先民，最愛用溫潤美玉雕刻抽象的或者具象的飛鳥，如紅山文化的勾云形佩及山東龍山文化玉圭上的鷹紋等。到了東周秦漢時，圓璧上常雕琢雙身動物面等紋飾。因為古人相信圓璧中孔的中心點是天旋宇宙觀中永恒不動的北極（太極、泰一），所以兩漢的高級貴族下葬時，縫綴各式玉片來包裹亡者的玉匣上，在覆蓋人頭頂?shù)牟课凰p綴的是一件玉璧。因為他們相信亡者的靈魂

19、通過璧之中孔就是通過“天門”能達(dá)到永恒不朽的境界。</p><p>　　而中國傳統(tǒng)瓷器藝術(shù)更是中國藝術(shù)講究完整、圓滿、和諧、氣韻、意境的體現(xiàn)。宋代瓷器就是“境界”之美的最佳典范。汝窯和官窯燒紙出的青瓷是宋代瓷器的精品。其色調(diào)似綠非綠，似藍(lán)非藍(lán)，似灰非灰，釉質(zhì)瑩潤，光擇內(nèi)含，除大小不一的開片外，幾乎不帶任何裝飾，將裝飾的意匠薈萃于溫潤如玉的釉質(zhì)和洗煉古雅的造型，“不著一字、盡得風(fēng)流”，引人深思，發(fā)人遐想，把靜穆含蓄

20、之美推到了極致。宋瓷的藝術(shù)意境，從其造型、裝飾和藝術(shù)形象中寄托了內(nèi)在的寓意，如宋瓷含蓄的造型和釉色，象征著一種空靈、靜寂境界，代表了“玉境”的文人風(fēng)范，體現(xiàn)了中國藝術(shù)以形寫神、寓意深刻的特征和恬淡、含蓄、委婉的東方情調(diào)。</p><p>　　因此，中國傳統(tǒng)造物文化中，經(jīng)歷了從直接模擬自然的形態(tài)到模擬自然萬物的內(nèi)在規(guī)律以達(dá)到和諧，在從對器的認(rèn)識上升到對道的關(guān)懷，從功利實用意義上升到哲學(xué)意義，即“以器載道”的美學(xué)思想

21、高度。</p><p>　　4.中國傳統(tǒng)造物思想與現(xiàn)代設(shè)計</p><p>　　傳統(tǒng)造物活動的目的常常是為了滿足特定的物質(zhì)需要和一定的精神愉悅。設(shè)計則是研究人為事務(wù)的科學(xué)，是針對特定目標(biāo)的求解活動，是運(yùn)用分析、綜合、歸納、推理等多種設(shè)計方法以及形象思維、邏輯思維等多種思維方法來創(chuàng)造物的科學(xué)行為，是一門以理性的方法和藝術(shù)的內(nèi)涵來為“人”創(chuàng)造新的生存方式和文化觀念的科學(xué)。隨著“民族的才是世界的

22、”的呼聲把人們開始再次重視傳統(tǒng)文化理念對于設(shè)計的獨(dú)創(chuàng)性和精神價值的重要作用。中國五千年的文化，經(jīng)歷了每個時代的過濾，積淀了每個時代的精華，保留至今成為濃縮的民族特色。但是隨著外來文化的沖擊和工業(yè)時代的來臨，許多優(yōu)秀的傳統(tǒng)文化藝術(shù)面臨滅絕。在工業(yè)設(shè)計學(xué)習(xí)傳統(tǒng)文化，一方面是為了學(xué)習(xí)傳統(tǒng)文化的精髓，另一方面對于保護(hù)、傳承文化遺產(chǎn)也起到不可替代的作用。</p><p><b>　　結(jié)語:</b>&l

23、t;/p><p>　　工業(yè)設(shè)計是為工業(yè)生產(chǎn)服務(wù)的，它是連接人、產(chǎn)品、環(huán)境、社會和自然的中介，設(shè)計要具有普遍性，才能為大眾所接受。中國傳統(tǒng)文化思想特點和民族特色既是與工業(yè)設(shè)計相銜接的關(guān)鍵，也是民族傳統(tǒng)工藝能夠被現(xiàn)代生活所借鑒的意義所在。只有清醒意識和理解傳統(tǒng)文化的精神內(nèi)涵，才能在現(xiàn)代設(shè)計與傳統(tǒng)觀念間找到平衡，把傳統(tǒng)造物思想包括精神觀念、價值體系、行為制度、民族風(fēng)貌和現(xiàn)代工業(yè)設(shè)計中的設(shè)計觀、思維方式、社會風(fēng)尚融為一體，形

24、成一套在美觀實用的基礎(chǔ)上擁有本民族文化特色的設(shè)計思想。</p><p><b>　　參考文獻(xiàn)</b></p><p>　?。?］尹定邦.設(shè)計學(xué)概論.湖南：湖南科學(xué)技術(shù)出版社，2004.</p><p>　?。?］張燕.論中國造物藝術(shù)中的天人合一哲學(xué)觀.［J］文藝研究，2—6（6）：36</p><p>　　［3］李硯祖.

25、造物之美.［M］.北京：中國人民大學(xué)出版社，2000：83.</p><p>　?。?］羅軍.造物藝術(shù)的文脈與倫理觀念.［J］設(shè)計藝術(shù)，2004（1）：68-69.</p><p>　?。?］李澤厚.美學(xué)三書.［M］天津：天津社會科學(xué)出版社，2003.</p><p>　?。?］朱光潛.西方美學(xué)史. ［M］北京：人民文學(xué)出版社，2003.</p>&l

26、t;p>　　［7］蘇珊·朗格.藝術(shù)問題. ［M］江蘇：南京出版社，2006.</p><p>　　［8］張道一造物的藝術(shù)論.［M］福建：福建美術(shù)出版社，1989.</p><p>　?。?］阿木爾巴圖. 蒙古美術(shù)研究.［M］沈陽：遼寧民族出版社，1997.</p><p>　　［10］蓋山林 .絲綢之路草原民族文化.［M］烏魯木齊：新疆人民出版社，2

27、001.</p><p>　?。?1］滿都夫蒙古族美學(xué)史.［M］沈陽：遼寧民族出版社，2000.</p><p>　?。?2］王海霞.中國民間美術(shù)社會學(xué).［M］江蘇：江蘇美術(shù)出版社，1995.</p><p>　　The Enlightenment of Traditional Chinese Ideologies</p><p>　　on

28、Modern Industrial Design</p><p>　　Abstract: The 21st century is a century of design. Industrial design has entered people’s daily life as an effective method of planning more reasonable conduct of life for p

29、eople, which plays a very important role in coping with the relationship between humans, society and environment. Traditional Chinese ideology has a profound influence on China’s antique utensils and architecture. Meanwh

30、ile, it has provided sources of ideas for modern industrial design. It integrated many traditional ideologi</p><p>　　Keywords: traditional Chinese ideology; creation art; industrial design</p><p&g

31、t;　　Traditional Chinese cultural ideology has always been blending, spreading and developing in the long-term social practice of the Chinese and the summarization and refining process of all previous Chinese thinkers and

32、 it has already become the basic spirit that stands proudly in the family of nations. Such Chinese ideologies of creation art as “man is an integral part of nature” and “utensils are meant to convey truth” have provided

33、referential and inheritable spiritual treasury for modern design</p><p>　　new era. According to literature available and investigations into material objects, the following fundamental features of traditiona

34、l Chinese ideology can be summarized:</p><p>　　The foundation of traditional Chinese ideology “system of Chinese rites & music”</p><p>　　In the history of Chinese culture, as a kind of obsti

35、nate feudal ethics & concepts, </p><p>　　Chou Kung’s system of Chinese rites & music has a profound impact on the spiritual outlook of Chinese culture as well as the formation of basic aesthetic stan

36、dards. Immemorial totem singing & dancing and mediumistic rites were getting more and more complete and finally became divided. In the times of Western Zhou Dynasty, the rulers of this dynasty represented by Chou Kun

37、g inherited and perfected this and finally systematically established a fixed system related to Chinese rites & music. The sys</p><p>　　The system of “rites” is the restriction and standard of people’s d

38、aily conduct, which involves the aspects of perceptual forms of appearances, movements and patterns and so on as an expression of materialization. This aspect is relevant to “pulchritude”. Chinese rites and music include

39、 formalized requirements for a series of sequences such as various kinds of movements, conduct, expressions, apparel and colors and so on. In terms of the combination relationship of utensils, there are very clear</p&

40、gt;<p>　　Influenced by the system of Chinese rites & music, hues of ancient creation art became symbolic emotional elaboration besides a simple visual and perceptual form. The hue concepts and sequences of the

41、 hierarchy of China’s ancient society are greatly embodied in architecture and apparel. Yellow tiles and red walls were mostly used to build imperial palaces of royal households and aristocrats, while their apparel gave

42、priority to the hues of red and yellow. Meanwhile, ordinary residential houses w</p><p>　　In the ancient society, however noble or humble someone was, he or she was definitely graded, and creation art was th

43、e material manifestation for hierarchy. From material to varieties and from patterns to mixing colors, there were differences between the noble and the humble, which was unbridgeable. Therefore, the system of Chinese rit

44、es & music is the core of China’ thousands of years’ political systems, and this concept is deeply stamped with the brand by China’s traditional system of creation</p><p>　　The traditional Chinese ideolo

45、gy “man is an integral part of nature”</p><p>　　“Man is an integral part of nature” is an important ideology raised during the development of traditional Chinese culture, and this reflects harmonious outlook

46、s on society and nature. This ideology is embodied in Confucianism, Taoism and Buddhism. The ethic sequence of Confucianism is Jade Emperor, Yama, monarchs, relatives and teachers, which illustrated the sovereignty of Ja

47、de Emperor and Yama. Thus, Confucius put forward the ideologies of “harmony is the most precious”, “joy aims at harmony” </p><p>　　The traditional concept of “man is an integral part of nature” is not only a

48、 concept of long prevalence in Chinese aesthetics and artistic creation, but also an aesthetical principle all Chinese artists of past dynasties abided by. Based on this principle, the ancients took the utility relations

49、hip with the natural environment into account first when examining production practice of construction and handicrafts. Traditional Chinese utensils emulated natural laws and applied such laws to utensil </p><

50、p>　　Creation art relies heavily on nature. In ancient China, metal, wood, water, fire and earth were regarded as five basic material elements that constitute the world, and thus the concept of five elements was formed

51、. Pottery made of natural clay was the utensils used most in people’s daily life in ancient China. During the manufacture process, the ancients gradually grasped the natural quality of clay material, and then they elutri

52、ated and kneaded the clay according to its properties. Next via jol</p><p>　　Chinese people’s worship and reverence for nature pursued the lofty realm of “man is an integral part of nature”, and this was als

53、o embodied in the forms and shapes of utensil manufacture. In terms of the design and manufacture of vehicles, it was described in Kao kung chi that “square carriages symbolize earth; round canopies symbolize heaven; spo

54、kes symbolize thirty days in each month; bow-shaped timber frames symbolize the lunar mansions of the sidereal revolution.” The shapes of canopies and</p><p>　　Thus it can be seen that the belief that Chines

55、e people and nature are in harmony has influenced many aspects like mental culture, material culture, behavioral culture, institutional culture etc. The concept of “man is an integral part of nature” in traditional Chine

56、se creation art gives expression to a high degree of harmony & unity in all aspects: the harmony & unity of utility and aesthetics, the harmony & unity of perceptual manifestation and rational norms, the unit

57、y of craftsmanship and th</p><p>　　3. The traditional Chinese creation art ideology of “utensils are meant to convey truth”</p><p>　　The ideology of “utensils are meant to convey truth” were oft

58、en applied in traditional Chinese creation art, and this ideology embodies the semantic values of traditional Chinese design culture. It is written in The Book of Change·Xici I “that metaphysical objects (xing’ersha

59、ng in pinyin) refer to abstract objects (dao in pinyin), while practical objects (xing’erxia in pinyin) refer to concrete objects (qi in pinyin).” Xing refers to shape and structure, which is the perceivable shape and qu

60、alit</p><p>　　There was an allusion in ancient China. The ancients discovered in their experience in grinding and manufacturing utensils that some tough and imperishable beautiful stones would become lustrou

61、s after a polish. They named such stones jade because they believed such beautiful stones were abundant in vitality. Jade had nine virtues, and monarchs took “the nine virtues” as the code of conduct for their rule. Besi

62、des the texture and shape of jade, engraved patterns and symbols were also elements tha</p><p>　　Meanwhile, traditional Chinese ceramics is more of an embodiment of which Chinese art stresses integrity, perf

63、ection, harmony, flavor & tone and artistic conception. Porcelains of Song Dynasty are the best example of the beauty of “artistic conception”. Celadon which was baked in Ru Kiln and Guan Kiln were top-notch work of

64、porcelains of Song Dynasty. Its hue is greenish, bluish and grayish. Its glaze is lustrous. There are almost no ornaments on it except for some irregular crackles. All of the</p><p>　　Consequently, tradition

65、al Chinese creation culture has experienced changes from emulating natural forms to emulating inherent laws of natural things in order to achieve harmony, from cognition on qi to solicitude for dao, and from practical si

66、gnificance to philosophical significance. These are actually the level of the aesthetic ideology of “utensils are meant to convey truth”.</p><p>　　4. Traditional Chinese creation ideology and modern design&l

67、t;/p><p>　　Traditional creation activities are mostly aimed at meeting specific material demands and achieving certain spiritual pleasure. Design is a discipline doing researches into artificial affairs. It is

68、a trouble-shooting activity aimed at specific goals. It is scientific behavior that applies many design procedures such as analysis, synthesis, induction, reasoning etc as well as thinking methods like thinking in images

69、, logical thinking etc to create things. It is a discipline that can create new w</p><p>　　Conclusion:</p><p>　　Industrial design serves industrial production. It is an intermediary that connect

70、s people, products, environment, society and nature. The public can accept design only when it is of great universality. The features of traditional Chinese cultural ideology and national features are both the crux of li

71、nking up with industrial design and where the significance of which modern life can use traditional national craftsmanship for reference lies. Only when the spiritual connotations of traditional cul</p><p>　

72、　References</p><p>　　[1] Yin Dingbang. An Introduction to Design. Hunan: Hunan Science & Technology Press, 2004.</p><p>　　[2] Zhang Yan. On the Philosophy of “Man is an Integral Part of Natu

73、re” in China’s Creation Art. [J] Literary Research, 2-6 (6):36.</p><p>　　[3] Li Yanzu. The Beauty of Creation Art. [M]. Beijing: China Renming University Press, 2000: 83.</p><p>　　[4] Luo Jun. T

74、he Thread of Thought and Ethical Concepts of Creation Art. [J] Design Arts, 2004 (1): 68-69.</p><p>　　[5] Li Zehou. Miscellanies on Aesthetics. [M] Tianjin: Tianjin Academy of Social Sciences Publishing Hous

75、e, 2003.</p><p>　　[6] Zhu Guangqian. History of the Western Aesthetics. [M] Beijing: People’s Literature Publishing House, 2003.</p><p>　　[7] Langer·Susanne K. Problems of Arts. [M] Jiangsu

76、: Nanjing Press, 2006</p><p>　　[8] Zhang Daoyi. Art Perspectives on Creation Art. [M] Fujian: Fujian Art Publishing House, 1989.</p><p>　　[9] Amurbatu. Research into Mongolian Fine Arts. [M] She

77、nyang: Liaoning Nationalities Publishing House, 1997.</p><p>　　[10] Gai Shanlin. National Pastureland Culture of the Silk Road. [M] Urumchi: Sinkiang People’s Publishing House, 2001.</p><p>　　[1

78、1] Man Dufu. History of Mongolian Aesthetics. [M] Shenyang: Liaoning Nationalities Publishing House, 2000.</p><p>　　[12] Wang Haixia. Sociology of China’s Folk Fine Arts. [M] Jiangsu: Jiangsu Art Publishing