适人之用:审美风尚推动下传统砚台设计观的嬗变

以传统文房用具中的砚台为研究对象,通过纵向延伸与横向比较厘清其发展脉络,进而探讨此研墨工具实用性与审美性之间的依存关系。砚台作为以墨和濡的实用器具,在宏约审美观统摄下,从朴素的舂捣型研磨器转变为随形附饰的磨制型三足砚;魏晋至唐,世俗化审美倾向催生出象征性赋形的辟雍砚和彰显普适度的箕形砚;有宋以来,崇文之风下端庄典雅的文人砚占据主导,而明清求精尚巧观进一步对遴选砚材与塑造砚形做出系统规约,文人阶层对制作文房用具的深度参与使砚台的设计兼具功能之适与精神之适。通过回溯审美风尚对传统砚台设计观的推动,以期在当代促进设计方式的演进与设计思想的传承。

Suitable for Human Use: Evolution of Traditional Inkstone Design Concept Driven by Aesthetic Fashion

With the inkstone in traditional stationery as the research object, the work aims to clarify its development through vertical extension and horizontal comparison, and further explore the interdependence between the practicality and aesthetics of this ink tool. As a practical tool for inking, the inkstone, under the guidance of the grand aesthetic concept, has transformed from a simple pounding grinder to a polished three-leg inkstone with accompanying decorations. From the Wei and Jin Dynasties to the Tang Dynasty, the secularization aesthetic tendency gave birth to the symbolic Piyong inkstone and the universal rectangular-pan inkstone. From the Song Dynasty, the dignified and elegant literati inkstones dominated under the trend of advocating literature, while the pursuit of refinement and craftsmanship in the Ming and Qing Dynasties further made systematic regulations on the selection of inkstone materials and inkstone shapes. This shows that the deep participation of the literati in the production of stationery has made the design of inkstones both functional and spiritual. By tracing the influence of aesthetic fashion on traditional inkstone design concepts, the study aims to promote the evolution of design methods and the inheritance of design ideas in contemporary times.