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Qi-Ju Design Knowledge: an Historical and Methodological Exploration of Classical Chinese Texts on Everyday Objects

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Copyright Undertaking This thesis is protected by copyright, with all rights reserved. By reading and using the thesis, the reader understands and agrees to the following terms: 1. The reader will abide by the rules and legal ordinances governing copyright regarding the use of the thesis. 2. The reader will use the thesis for the purpose of research or private study only and not for distribution or further reproduction or any other purpose. 3. The reader agrees to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage. IMPORTANT If you have reasons to believe that any materials in this thesis are deemed not suitable to be distributed in this form, or a copyright owner having difficulty with the material being included in our database, please contact [email protected] providing details. The Library will look into your claim and consider taking remedial action upon receipt of the written requests. Pao Yue-kong Library, The Hong Kong Polytechnic University, Hung Hom, Kowloon, Hong Kong http://www.lib.polyu.edu.hk QJ-JU DESIGN KNOWLEDGE: AN HISTORICAL AND METHODOLOGICAL EXPLORATION OF CLASSICAL CHINESE TEXTS ON EVERYDAY OBJECTS TANG WEICHEN Ph.D The Hong Kong Polytechnic University 2013 The Hong Kong Polytechnic University School of Design Qi-ju Design Knowledge: An Historical and Methodological Exploration of Classical Chinese Texts on Everyday Objects Tang Weichen A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy December 2010 ABSTRACT This thesis responds to the repeated calls in the Chinese design field for the creation of modern Chinese-style products and for the establishment of a distinctly indigenous system for the theoretical and methodological study of ancient Chinese products. The thesis contributes to this task by presentingthe original knowledge system of Chinese qi-ju (everyday tools and utensils) design and by developing a methodology for conducting research on Chinese qi-ju design. The thesis provides a research context for the study of Chinese qi-ju design. The researcher presents an historical picture of qi-ju in the early stage of modern Chinese design (1920-1940), and defines the key terms such as she-ji (design), tu-an (pattern) oryi-jiang (idea and craftsmanship) which emerged at this early modern design stage. The thesis evaluates contemporary studies of Chinese traditional qi-ju by using the “Western paradigm” concepts of gong-yimei-shu (craft art), from the 1950s to the 1980s, zao-wuyi-shu (creation of object art), from the 1980s, and she-jiyi-shu (design and art), since the 1990s. This thesis adopts an historical and comparative approach to investigate Chinese qi-ju design, rather than using an approach of craft art history. By applying constructivism and hermeneutics to the historical study of Chinese ancient classical texts on qi-ju design, the thesis adopts a qualitative research method and ii uses an “interpretative analysis” approach for analyzing texts. In so doing, this research responds to a long-standing issue concerning the lack of methods to help students approach these ancient texts, such as how to read and interpret them. The thesise examines classical texts of Chinese design history to identify theoriginal design terms, concepts, philosophies and practices of ancient Chinese design. The underlining rationale is that these ancient texts provide important evidence concerning the formation of traditional Chinese design, culture and knowledge. The thesis reviews a series of landmark studies on qi-ju design from three dynastic periods (pre-Qin, Song and Ming), including the Kao Gong Ji (Book of Diverse Crafts), the various theories discussed during the Hundred Schools era, Shenkuo’s Meng-xi-bi-tan (Sketchbook of Dream Brook), Wen Zhengheng’s Chang-wu-zhi (Treatise on Superfluous Things), and Song Yingxing’s Tian-gong-kai-wu (Heaven’s Craft in the Creation of Things). Based on a textual analysis of above texts, the thesis presents the “original Chinese qi-ju design knowledge”and offers four kinds of research findings: (1) the genealogy of the Chinese terms qi (utensils), ju (tools), and wu (objects), and the basic design concepts of qi (utensils), xiang (image or signs), and fa (method, or principle); (2) the original state and features of qi-ju tradition; (3) the philosophical approach to qi-ju design; and (4) the features of knowledge involved in Chinese qi-ju design. iii The researcher contributes to the field by exploring the distinguishing features of Chinese qi-ju design and analyzing this tradition as (1) an ancient practice that has been greatly respected in the design and manufacture of basic tools and utensils; (2) as an approach to design that lays a simple and clear-cut emphasis on functionality; (3) as a craft tradition that has relied on the craftsmen’s experiential knowledge and their perceptions of the environment, nature, geography, seasons and materials; (4) as a style of design in which ji-yi (technique) and jing-yan (experience) are intertwined as important elements.The researcher especially argues that the tacit knowledge feature of qi-ju design is unique to the Chinese craft tradition. The thesis further provides research applications, offering a study of Western product design research. This analysis serves as a methodological reference for contemporary Chinese design. Next, the thesis proposes a theoretical framework based on “reality, knowledge, and interpretation”to inform future studies of traditional everyday tools in China.The proposed framework addresses the lack of a methodological approach in current design history studies, and answers the research question of how we can we approach this design knowledge system. iv PUBLICATIONS AND CONFERENCES Tang Weichen (2008). The Exploration of Emotion and Memory in the Design of Chinese Everyday Cooking Utensils. The 6th Design & Emotion Conference Proceedings. October 2008. Hong Kong. v ACKOWLEDGEMENTS I wish to express my sincere thankfulness to Dr. Ng Man Yee for her sincere supervision to make me produce the completed revision of the thesis. I would like to express my deep gratitude to Profession Matthew Tunner and Pat Kirkham, for their careful reading of the scripture, viewpoints at oral defence and constructive comments that helped me improve this thesis. I owe my heartfelt thanks to Professor John Heskett for his supervision (from 2007 -2010). His passion for Chinese design history inspired me to discover the value of Chinese ancient design. And the supervision of Dr. Eric Wear (from 2006-2008), his knowledge on Chinese culture and art, initiated this research. Thanks also are due to Dr. Tim Jachna for his kind discussion with me on methodological issues of the research, and Professor Sharon Poggenplhl for her views on this research topic when she coordinated Post-graduate programs at School of Design from 2006-2008. The indispensable thanks are due to Academic Committee of School of Design, The Polytechnic University. If they did not provide the opportunity I cannot have followed this PhD program. Though this PhD study is a very long journey in my life, I did learn many invisible things that build up my character which I thought is very important for a person. Finally and most importantly, my heartfelt thanks go to my parents for their constant love. vi CONTENTS Certificate of Originality ................................................................................................. i Abstract .......................................................................................................................... ii Publications and Conferences ........................................................................................ v Acknoweldgements ....................................................................................................... vi Table of Contents ......................................................................................................... vii List of Tables .............................................................................................................. xiv I. INTRODUCTION 1.1 Research Context ..................................................................................................... 1 1.2 Research Questions and Research Objectives ................................................... 3 1.3 Definition of Key Terms of the Topic ............................................................... 4 1.3.1Chiense and West ....................................................................................... 5 1.3.2 Tradition ................................................................................................... 6 1.3.3 Modernand Tradition................................................................................ 9 1.3.4 Chinese Tradition Everyday Tools .......................................................... 11 1.3.5 Knowledge (Zhi-Shi) ............................................................................... 13 1.4 Historical and Methodological Approach ........................................................ 18 1.5 Resesarch Methodology................................................................................... 22 1.5.1 The Method of Historical Research ........................................................ 22 1.5.2 The Text and the Selection of Text ......................................................... 23 1.5.3 Qualitative or Quantitative Research .....................................................
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