文震亨所著《长物志》是晚明文人士子文房清居生活方式的总结，集中体现了那个时代士大夫对于工艺和设计的审美趣味，堪称晚明士大夫生活的“百科全书”，是研究晚明经济、文化、思想的重要资料。 《长物志》“宏大而全，简约而丰，间架清楚，浅显晓畅”。其特点是全面而不芜杂，系统而不冗长，有丰富的设计思想资料。全书分十二卷，分属工艺美术、建筑、园艺诸学科，囊括衣、食、住、行、用、游、赏等各个方面，虽各自成篇，但又内在关联，成为一个整体，比较全面地表现了晚明文人关于生活环境的设计美学观念。 《长物志》设计思想具有很高的研究价值。但以往学界对此重视不够，有关《长物志》设计美学、设计思想、设计理论等方面的深层次的系统研究与整理，迄今仍是空白，尚无专著论述。 本论文结合明代尤其是晚明社会的历史、文化诸因素，对《长物志》涉及的设计思想进行横向与纵向的解读，阐述其思想根源和价值，以弥补这一方面研究的不足。 论文共分六章：第一章为引言：阐述论文研究的学术意义、价值、文献综述及研究现状；第二章为概论：简略地论述《长物志》的内容及成书的历史原因；第三、四、五章为论文的主体部分：分别从造物、审美、人格三个层面上详细论述文震亨的设计思想，即设计之宜、设计之雅、长物与人格诸节；第六章为结论：评述《长物志》的设计思想，分析其特点、局限性以及对后世的影响。 文震亨既不是专业造园家，也不是技艺工匠，虽然其言论本身不那么系统，有时仅是只言片语而已，但涉及到设计的一些根本问题，曾对中国设计艺术的发展产生过影响。他的理论贡献，早已越出了原先论述范围的界限，而成为设计艺术史上宝贵的精神财富。当然，由于历史及自身的原因，文震亨的某些观点带有明显绝对化、局限性，即便如此，对于今天来说，研究和借鉴这些思想，对中国当代设计仍然有着十分现实的意义。关键词：长物，宜，雅，人格

The zhangwuzhi, written by Wenzhenheng, an intellectual of the Late Ming Dynasty, gives a complete summary of the intellectuals’ lifestyle and concentrically reflects the design aesthetic tastes of the intellectuals in that times. It may be rated as an “Encyclopaedia” over the intellectuals’ life in the Late Ming Dynasty, and is also important information for researching the economy, the culture and the ideology of the Late Ming Dynasty.The zhangwuzhi is abundant in diversified contents and is concise to easy for understanding. The contents in it make outstanding features of being complete but not disorderly, being systemic but not prolix, concentric presenting the Wenzhenheng’s ideology on the design aesthetics. The whole book is divided into 12 volumes. but are interrelated to each other, forming a theoretic whole. In the writing, the whole thesis is divided into six chapters in total. The first chapter is the preface, expounding the academic significance and value, the current situation of research, and the overview of literature of the thesis. The second chapter is the introduction, simple describing the contents of the zhangwuzhi and its cause of formation. The third, fourth and fifth chapters are of major part of the thesis, setting forth the Wenzhenheng’s ideology on the design aesthetics in details respectively in three aspects of substance, aesthetics and spirit, i.e., suitability of the design, elegance of the design, as well as substance and personality. The sixth chapter is the conclusion, commenting on the design aesthetics ideology of the zhangwuzhi, and analyzing its features, limitation and the impact on the future.Wenzhenheng is neither a professional landscape gardener nor a craftsman, and his talk itself is not systemic, even no more than one sentence. His talk and opinions, however, indeed are related to some fundamental problems on the design, and indeed has produced impacts on the later development of the Chinese design arts. His theoretic contribution has been far superior to the previous expounding limitation and become a common spirit wealth in the design arts. Of course, because of the historical factor and his own reason, some of the Wenzhenheng’s opinions are obviously of absolute and limited. Nevertheless, for the current society, the research and the reference on and to these ideologies and its whole cultural background have still been a realistic significance to provide abundant and deep reference to the Chinese modern arts embodying the traditional wisdom and the national development.Key words: substance, suitability, elegance, personality