成器之道——先秦工艺造物思想研究

m Mohist school, Wen-Zhi-Bin-Bin (Form and content should be matched up with each other) from the Confucian school, Bai-Bi (Form with no ornament is the highest form) from Chou-Yi, and Da-Xiang-Wu-Xing (Great image has no fixed shape), Da-Qiao-Ruo-Zhuo (Great craft always appears anti-skilled ), Wei-Tao-Ri-Sun (Deep insight comes from de-construction of intrinsic subjectivity) from the Taoist school. We find here some interesting coincidence of the Mohist idea with modern functional design, Bai-Bi concept with the modern design creed of “less is more ”, and the Taoist idea with the de-construction and multivariate trend in contemporary design.

In the name of Cheng-Qi-Zhi-Tao , the final chapter gives a concluding remark of the dissertation. The Tao is defined here as the law taking effect in ware-making and design. Its donation is summarized in four terms, that is, Xian-Shen-Wei-Xiang (showing-up as design patterns), Ning-Jie-Cheng-Wu (gathering as design experience), Zhang-Xian-Qi-Jing (opening as design principles), and Gu-Chi-Qi-Xin (inspiring design ideas). The wholeness of these fours consists of what the historical design experience of pre-Ch’in Days lies in.

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