摘要
苏式家具,被众多学者称之为明式家具的正统。之所以视之为正统,全在苏式家具所体现的江南文脉"书卷气"三字。回溯苏式家具臻于"书卷气"佳境的历程,促进之功自当首推明代营造私家园林的江南旷士们,正是在他们崇尚清雅、寄情山水、适志恬谈的"市隐"哲学启示下,匠师们"心有灵犀一点通",不断打造出多种多样天工与人巧合一、简练与含蓄相济的红木艺术品杰作。而所谓的"书卷气",只可意会而无法言传,体现在苏式家具的"型、艺、材"三方面。
Su style furniture was deemed to be the orthodox Ming style furniture by most scholars thanks to it＇s scholarliness embodied in culture context of southern Yangtze River area. One of the key attributes for Su style furniture hitting it＇s stride were profound scholars of the Ming Dynasty who constructed the private gardens. Under the philosophical revelation of advocating elegant, placing one＇s feelings on the landscape and hiddening in the city, the heart consonance craftsmen constantly created diverse Hongmu masterpieces combining the workmanship with nauture. The so-called＂scholarliness＂ of Su style furni- ture can only be apprehended but not expressed which is reflected in style, art and wood material.
出处
《家具》
2015年第5期79-80,95,共3页
Furniture
关键词
苏式家具
书卷气
文化
美学
Su style furniture
scholarliness
culture
aesthetics
