论文主要透过清代史料中关于“旗纛”的载记与描摹，触及这样一个“世界”：那里，人的礼制的活动为其根本属性，种种超验感知、思想脉络、官僚职属、治理过程、集体识别和符号物形均统一在精神与实用并重且被展列出来的、具有流动性的特殊工艺造物之上。研究时则主要运用工艺史、美学和历史学的方法，同时借鉴哲学、古文字学、政治学、法律史学及思想史的理论，辅以古代天文学、考古学、人类学与社会学等多学科成果，力图实现对这一类现代日常生活较少关注的工艺、设计品，基于断代史背景的，较全面的考察与剖析。述及“思想”，自然要在研究中展现旗纛本身作为一类综合的“复杂”造物的丰富性。它的主要构成部分，上古礼制范畴内包括縿幅、斿、顶与竿，以及清代实际运用中的页、号带、夹带、竿及顶盘等等，都不是一“作”、一“工”可以独立完成的。清代，它的得以展现是在工部虞衡司、制造库等多职属的直接负责下，多项技艺、工种配合的结果。此际的“工艺”既有技术制作的情境、心绪，又有艺术内涵、精神品貌的“重量”。当然，述及旗纛的制备并不意味着只谈论技术问题，其在礼制生活内的重要性也不完全是通过那些看似简率的处置手段反映出来的。论文希望借助工艺的具象的办法，整合入传统公共治理行为的独特逻辑，梳理出其可付诸实践的社会价值。故此，旗纛所涉及的内容除了包括工艺与设计的历史、美学、思想等等外，还关涉着范围更广泛的社会制度演进脉络。在清代，旗纛同时也是“八旗”制度的一个核心表现。结合于“原理”部分提出的“工”型图，论文透过旗纛的视野，还着力分析了受到战争等实际行为影响的女真部落，如何一步步扬弃“原始”属性，并逐渐向传统的中原统治集团过渡。其间，更讨论了交杂于精英和民间不同的旗的用例，以图更详尽地借助这类不仅能反照中国封建核心王权、礼制规范，还能勾勒出中国式创造赋形、操持接受，并达至社会治理目的的综合之物，而提炼出较完整且更切实的，属于传统工艺和设计的思想规律与意义。
Through the ancient documents on flags of Qing Dynasty, there was a special universe: that people’s ritual activities were its most basic character, which connected with all kinds of experiences that gained from the common life; and the reflections of thoughts, that bureaucratic institution made great impact on them; while beyond the routines, procedures of governing identified the collectivity by the symbols of the entire world, that at last fused into the operations of official showing and ruling. This research uses the theories and methods of aesthetics of Craft and Design, History, and Philosophy, while with philology, politics, history of law, anthropology, and sociology and so on, in order to unveil the complicated world of the special demiurgic culture of Chinese flags.The research on the thoughts of flags, which in China called “Qi” and “Dao”, is a cross research on the cultural study field. That means we are not only need the knowledge of crafts and arts, the knowledge of history, the knowledge of how to analyzing the special things including flags that used by the emperors at peace or war time in ancient, also need to dig into the outside atmosphere which created by the rows of flags and the soldiers, the literati, and the officials. Namely, the research not only cares the technique of crafts, but also concerning on the governing methods and ways, which means nearly each emperor in Chinese history is one of the supreme governor, they control its people by all the civilization relics that can be gained, while adjusts the universe that people exist. These procedures and behaviors, we call the thoughts of crafts and design.And thoughts are the figurative things by using the real objects, as arts and crafts, to help while telling the truth of history. The mass, which controlled by the institution, can with these efforts, creating sets of special logics of behavior, finally reform the society and the universe.In the Qing Dynasty, flags are the most important crafts that gave the metaphor for the country and the society, which created by the northwestern minority of “Man”. Using the institutional words and controlling systems of “Ba Qi”, the last Empire possessed the primeval military strength and the up-growing wisdom of the central majority. At the same time, the elites of the old dynasty, and the grassroots, also had the drastic tension between how to remain their dignities and how to obey the new instructions, under the circumstance that between the pre-modern and the modern. Yet emerged gradually in the time, the empery, the ritual controlling, the creativities of ideology and the efflorescence of the management of the ancient institutional system then focus on the so-called “Gong”, Crafts and Design, that will actually form the country as the whole.The research spools onto these facts, in other to refine the actual dynamic power that Craft and Design gained, and evokes the consciousness of the branch of learning, which not only the learning of arts, also the learning of the control and the management of the world of being.
