中华之美丛书围绕中华优秀传统文化这一主题，择取其中15个专题分别加以介绍。这15个专题，包括以思想、智慧、艺术为主的无形遗产，以工艺、器物为主的有形遗产，以衣食住行乐为主的民俗生活，它们精心构架，有机结合，勾勒出中国文化的一个总体面貌，并反映出中华文化独一无二的理念、智慧、气度、神韵。中国传统工艺在世界各民族的物质文化史上有着独特的美名，给后人留下了丰富的文化遗产，包含着许多人工造物与生活的智慧。本书系统地介绍了中国传统工艺历史和发展，其中有纵向的沿革，也有横向的分类；有严谨的工艺介绍，也有生动的工匠故事；讲具体的工艺现象，也讲现象背后蕴涵的思想和文化，是一本人文气息浓厚的专业普及读物。The heaven has time, the earth has vitality, material has beauty, work has ingenuity. Chinese arts and crafts enjoy a unique reputation in the history of material civilization among various nations in the world. For several thousands of years, peoples handicrafts in their development echoed with the rhythm of lifeworking with the rising sun and reposing at sunset. All species of handicrafts in their earliest states are related to usage： always practical, plain and warm, and in possession of a wisdom that adapts to agricultural civilization. Even the highend handicrafts at the court and among the literati, such unpretentious tradition still remain and reveal a touch of pragmatic trace. All this is associated with the everlasting farming culture of China and her exceptional geographical position, which has left us rich cultural heritage in which wisdom of life and human creation iscontained.中华之美丛书围绕中华优秀传统文化这一主题，择取其中15个专题分别加以介绍。这15个专题，包括以思想、智慧、艺术为主的无形遗产，以工艺、器物为主的有形遗产，以衣食住行乐为主的民俗生活，它们精心构架，有机结合，勾勒出中国文化的一个总体面貌，并反映出中华文化独一无二的理念、智慧、气度、神韵。 中国传统工艺在世界各民族的物质文化史上有着独特的美名，给后人留下了丰富的文化遗产，包含着许多人工造物与生活的智慧。本书系统地介绍了中国传统工艺历史和发展，其中有纵向的沿革，也有横向的分类；有严谨的工艺介绍，也有生动的工匠故事；讲具体的工艺现象，也讲现象背后蕴涵的思想和文化，是一本人文气息浓厚的专业普及读物。 The heaven has time, the earth has vitality, material has beauty, work has ingenuity. Chinese arts and crafts enjoy a unique reputation in the history of material civilization among various nations in the world. For several thousands of years, peoples handicrafts in their development echoed with the rhythm of lifeworking with the rising sun and reposing at sunset. All species of handicrafts in their earliest states are related to usage： always practical, plain and warm, and in possession of a wisdom that adapts to agricultural civilization. Even the highend handicrafts at the court and among the literati, such unpretentious tradition still remain and reveal a touch of pragmatic trace. All this is associated with the everlasting farming culture of China and her exceptional geographical position, which has left us rich cultural heritage in which wisdom of life and human creation iscontained.
關於作者：
杭间，1961年生，艺术史学者、批评家。中国美术学院副院长、美术馆馆长，教授，博士生导师。曾任《装饰》杂志主编、清华大学美术学院副院长，系教育部艺术教育委员会委员、中国美术家协会理事、理论委员会副主任、浙江省民间文艺家协会主席。著有《原乡设计》、《设计道中国设计的基本问题》、《中国工艺美学史》、《手艺的思想》、《新具象艺术》、《艺术向度》、《身体的智慧中国当代油画十年精神景观》、《中国工艺美学思想史》等。杭间，1961年生，艺术史学者、批评家。中国美术学院副院长、美术馆馆长，教授，博士生导师。曾任《装饰》杂志主编、清华大学美术学院副院长，系教育部艺术教育委员会委员、中国美术家协会理事、理论委员会副主任、浙江省民间文艺家协会主席。著有《原乡设计》、《设计道中国设计的基本问题》、《中国工艺美学史》、《手艺的思想》、《新具象艺术》、《艺术向度》、《身体的智慧中国当代油画十年精神景观》、《中国工艺美学思想史》等。
郭秋惠，1979年生，设计艺术学博士，毕业于清华大学美术学院艺术史论系，现为清华大学美术学院博士后。著有《中国传统工艺》（合著）、《追逐太阳的光影邓伟》（合编）。 Hang Jian, born 1961, Ph. D., vice president of China Academy of Art, curator of the National Art Museum of China. Graduated from Department of Art History, Central Academy of Arts, he was once editor-in-chief of the Decoration Journal; director of Department of Art History, Academy of Arts and Design, Tsinghua University; managing deputy director of Cheung Kong School of Arts and Design, Shantou University; senior visiting scholar to College of Architecture, Art, and Planning, Cornell University, USA. His writings include Design, Way of Design Basic Problems in Chinese Design, A History of Chinese Technology Aesthetics, The Idea of Craftsmanship, New Figural Art, Art Dimensions, Wisdom of the Body Spiritual Landscape of Contemporary Chinese Oil Paintings, A History of Chinese Technology Aesthetic Ideology, etc.Guo Qiuhui, born 1979, Doctor of Design Art, graduated from Department of Art History, currently postdoctoral researcher with Academy of Arts and Design, Tsinghua University. Writings include Chinese Arts and Crafts written jointly, Chasing the Suns Light and Reflection compiled jointly.
目錄：
ForewordHistory and Background of the Traditional Arts and Crafts of ChinaArts and Crafts during the Primitive SocietyArts and Crafts during the Xia, Shang and Zhou DynastiesArts and Crafts during the Spring and Autumn Period and the Warring States PeriodArts and Crafts during the Qin and Han DynastiesArts and Crafts during the Six DynastiesArts and Crafts during the Sui, Tang and Five DynastiesArts and Crafts during the Song, Liao, Jin and Yuan DynastiesArts and Crafts during the Ming-Qing Dynasties and Republic of ChinaArts and Crafts in the Field of UtensilCeramicsBronze WareLacquerArts and Crafts in the Field of ApparelerEmbroideryPrinting and DyeingSilk WeavingArts and Crafts in the Field of FurnishingsFurnitureGold and Silver Ware, Glassware, EnamelwareBamboo Carving, Wood Carving, Ivory CarvingArts and Crafts in the Field of AdornmentJade ArtworkPaper-cutNew Year PictureArts and Crafts in the Field of EntertainmentToyKitePuppetSilhouetteArts and Crafts in the Field of CommerceShop SignPackagingLegends concerning Traditional Arts and Crafts of ChinaThe Transition and Development of Traditional Chinese Arts and Crafts at the Present Age
內容試閱：
The traditional arts and crafts of China have won unique good reputations in the history of the material culture of the various nationalities in the world. Since Zhang Qian ?c.114 BC of the Han Dynasty served as an envoy abroad to the Western Regions a Han Dynasty term for the area west of Yumenguan, including what is now Xinjiang and parts of Central Asia and the gradual formation of the Silk Route, the traditional arts and crafts of China have been introduced in an unfailing way to the Middle East first via the Central Asia and the Western Asia and then to Europe and the five continents and four oceans. At the time when other nationalities intruded or disorders caused by continuous military operations, Chinese craftsmen in the successive dynasties of past ages could often survive by virtue of one single skill and became emissaries for diffusing the culture of different nationalities. In the traditional Chinese philosophy, Chinese ancient thinkers started, as early as in the first century, to use handicraft skills to compare to and interpret various kinds of considerations in the ways of running a state or looking at life.All this is related to the unique geographic location of China and its farming culture that was formed continuously for a very long time.The mainland of China possesses a long coastline but its source of civilization, the Central Plains comprising the middle and lower reaches of the Yellow River, goes deep into the inland. The three earliest systems of state power in China, the Xia Dynasty, the Shang Dynasty and the Western Zhou Dynasty, all emerged in the inland. For the nationalities that grew up on plains and in mountain areas, cultivation and irrigation of land were the most important ways of existence. As a result, the astronomical calendar, the fabrication of farming tools, and the ethical concept of how to get along well with others all developed on such a premise. It was this kind of life and the style of art in the agricultural farming society that decided the special features of the traditional arts and crafts of China. Its workmanship surrounded the practice of tilling the farm by men and spinning and weaving by women as well as the way of starting to work at sunrise and to rest at sunset. The initial state of all articles and utensils was closely related to the purpose of different uses. They should be convenient and simple for use, having the wisdom of fitting in with agricultural civilization. Even at its top-level, i.e. the arts and crafts for court use and those for scholars, the vestiges of practical use and tradition of simplicity were still maintained. Its decorative style was natural. Within the vision of natural economy, hills and waters, animals and plants were the main patterns and ornaments. Absurd or ferocious decorations were scarcely seen. Instead they were full of optimistic spirit and progress making.
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