建構看不見的城市:中國藝術風中介設計的設計思維

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2015-04-??

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國立臺灣師範大學美術學系暨美術研究所
Department & Graduate Institute of Fine Arts, NTNU

Abstract

本文依循索緒爾符號學及布希雅擬像的理論,來檢視西方人建構17~18世紀中國藝術風這個「看不見的城市」的設計思維。文章主要探討東西方文他融合過程創造與詮釋「擬像」的歷程,其中幾個關鍵問題為:東西方文他融合過程人們是如何依循已知建構出未知的「假設」場域?符徵、符旨系統的協議關條如何轉變?「看不見的城市」背後擁有何種設計思維?本文首先陳述「看不見的城市」的演進過程、異域想像的文史記載、中國藝術風的發展背景,再以中國藝術風的作品為範例來說明中介設計在以上幾個問題所呈現的狀態。研究結果發現,即使「看不見的城市」是個完全跳脫現實的想像世界,但是想像依然需要原有認知系統經過一段相當長時間的轉變過程,才能由「真實對象的再現」發展成「純粹的擬像」/「 真正的中國藝術風」。
Following Saussure's semiotics and Baudrillard's simulation theory, this article explores the design thinking of the 1ih~18th century Chinoiserie “ invisible city" established by the Westerners. This article mainly recounts the process of establishing and explaining “ simulation" while East and West culture integrated. The key questions are: During the acculturation process between East and West, how did people establish the unknown “assumption" area? How did the agreement of the signifier and signified system shift? What' s the design thinking behind the “ invisible city?" This article first described the development process of the “ invisible cities", the historical records of the exotic world's imagination, and the development background of Chinoiserie. Second, follow above questions, taking Chinoiserie artifacts as examples to explain the status of the design in the go-between. The result of this research is, even the “ invisible city" is an imagination world, but these imagination coming from the original cognitive system still need a very long period of time to make “ profound reality" become “ pure simulacrum"/ “ true Chinoiserie."

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