本文立足于设计学框架，以清代宫廷家具的装饰为研究对象，以故宫博物院为代表的旧藏宫廷家具为研究材料，试图从家具装饰的内在结构层面把握清代宫廷中家具的装饰问题，探讨清代宫廷家具结构装饰的独有特性。通过清代宫廷家具装饰外在表象到内在本原的认知过程，揭示当时的物质文化，解释社会心理。研究将建筑类型学的研究方法引入到中国传统家具设计研究中。同时，运用结构主义的研究方法对清代宫廷家具中和结构相关联的装饰进行系统、整体的分析与研究。首先通过家具木构造的特点提炼出明代家具的原型，并归纳了家具的六种基本类型：腿足缩进作（A）、束腰作（B）、四平作（C）、直材交叉作（D）、站牙作（E）、板木作（F）。木构造是原型，装饰是在木构造（原型）基础上发生的变量。通过研究明代家具的木构造，发现清代宫廷家具木构造类型的转变，并找到清代宫廷家具装饰的独有特性。清代宫廷家具结构装饰特性归纳起来有三点：一是装饰结构化，清代宫廷家具有装饰结构化倾向。清代宫廷家具装饰则是从精神性、象征性入手，将具体的物象通过结构的转化来完成家具的制作，从而体现出装饰特征。二是装饰多样化。装饰多样化体现在装饰部位的多样化，以及装饰形态演进发展的多样化。三是装饰一体化，也就是装饰整体语言的搭配。清代宫廷在装饰营造方面，从建筑空间、室内设计到家具组合，装饰母题和手法都实现了对视觉品质的统一把控，实现了装饰语言与人、环境的整体和统一。清代宫廷家具结构装饰呈现的面貌反映的是“礼”的制约，也反映出当时的社会经济状况、对外交流状况、民族融合状况、宗教状况等一系列社会现象。它崇尚礼制、强化皇权、尊重宗教信仰，种种现象的背后，实质都是皇帝和皇室巩固皇权地位、维护政治统治以及稳定社会秩序的手段。清代宫廷家具装饰更多的是强调精神性，而淡化了物性，是等级制度和宗族权威的文化功能所需要。它的精神性体现在注重装饰上，其表现形式是通过装饰结构化来实现的。
This thesis, grounded on the framework of design, is an attempt to analyze the internal structure of decoration of Qing Dynasty imperial furniture now housed in the Palace Museum and to explore the unique characteristics of its structural decoration. By navigating the perceptual process from the exterior to the inner core of the decoration, this paper illuminates the tangible culture of the Qing and explain the societal psychology at that time.In this thesis, the methodology of architectural typology research is introduced into the study of traditional Chinese furniture design. At the same time, the structuralist methodology is also applied to prudently analyze and investigate the structural decoration of Qing imperial furniture in a systematic and holistic manner. The thesis starts by abstracting the archetypes of Ming furniture through the characteristics of their wooden structure and grouping them into six basic categories: those with recessed legs (A), those with concave lateral grooves (B), those with even surfaces (C), those with X-shaped bases (D), those with standing spandrels (E) and those made of solid timber and man-made panels (F). Wooden structure is the archetype while decoration is a variable. By studying the wooden structure of Ming furniture, author finds the shift in that of Qing imperial furniture and identify the unique characteristics of its decoration.The decoration features of Qing imperial furniture have three facets. The first is structured decoration. Qing imperial furniture tends to enhance the decoration with structural functions, which is completely different from Ming furniture. The decoration of Qing imperial furniture focuses on spirituality and symbolism, materializing decorative concepts into structure to finish the pieces and thereby form decoration features. The second facet is the diversification of decoration, which is manifested in the variety of decorated parts and the evolution of decorative patterns. Third is the integration of decoration, that is, the overall statement of the ensemble. In terms of decoration aesthetics, Qing imperial furniture accomplished consistent management of visual effects, from architectural space and interior design to furniture ensembles, decorative motifs and techniques, integrating and harmonizing decoration statements with people and the environment.The structured decoration of the Qing imperial furniture mirrors the constraints of “etiquette” and also gives a glimpse of such social phenomena as socio-economic conditions, foreign exchange, ethnic integration and religion. It advocates etiquette, strengthens imperial power, and respects religious beliefs. Behind all these phenomena, they are essentially the means for the emperor and the royal family to consolidate their position in imperial power, maintain political rule, and stabilize social order. The decoration of court furniture in the Qing Dynasty emphasized more on spirituality while downplaying materiality, which was necessary for the cultural function of hierarchical system and clan authority. Its spirituality is reflected in the emphasis on decoration, and its manifestation is achieved through structural decoration.
