东方竹世界
凡中国人，没有不知竹，不爱竹的。亚洲人亦大抵如是。
中国是竹的中心产区。以中国为中心，绵延东南亚、南亚、东亚诸陆缘板块，这种多年生的木质化植物很早就进入生长地域的人的生活。瑶碧离离，俊拔猗猗，竹的形姿总是引起住民的喜爱。但由此超拨上去，由竹的形态感怀人的格趣，似乎是中国人的草木世界观所独具的雅识。古人云：“猗猗修竹,不卉不蔓,非草非木。操挺特以高世,姿潇洒以拔俗。”在中国人看待竹子的恒常眼光中，自来就有人格化的写照，故以“子”——这个圣贤之士的尊称而称竹。东晋诗人江逌《竹赋》唱道：“有嘉生之美竹,挺纯姿于自然；含虚中以象道,体圆质以仪天”。竹子于中国和东方古典文明的价值已达天道的境意。
苏轼既是画竹的高手，又是诗竹的歌手。他在贬谪的荒寂中撰述《志林》，山水之外，兼及各物。关于竹，他写道：“食者竹笋,庇者竹瓦,载者竹筏,爨者竹薪,衣者竹皮,书者竹纸,履者竹鞋,真可谓一日不可无此君也”。用今天的话来说，这是竹的博览会，写尽竹笋为食、竹皮为衣、竹筏为用、竹瓦为居的竹生活世界。还有诗人写道：“江上人家翠竹光,竹屏竹几竹方床,生之气味原谱竹,竹屋还须胜画梁。”在这里边，竹纸为举世所用，竹器皿则蕴着农耕乡土的技艺风采，竹屋则是亚洲的一片片云山浓烟、江河浅影的至为生动而质朴的栖所。
柏拉图把他所做的学术研究名曰美学。西方美学所探求的艺术理念，是以现象形态的描写再现为标榜的写实倾向，通过直观观察来达到本质化现象与理想的的样态。在过往岁月中，对于区别和认识万生万物，基于分析和验证的直观观察往往优于其他的认识能力，但在高度讯息化的今天，这种秩序正一去不返了。
穹庐人世，星影欲坠。东方的美学更重视的是以直观为线索，寻求其形态所暗示和蕴蓄的东西。所以，东方美学的留痕是着墨不多、却寓意深远的诗咏，是无一笔是笔、又无一笔不是笔的写意绘画。东方美学的浸润之下，竹从个人居所的爱好到圣人的哲思健行；从散文化的日常性到诗的意韵超越，整体地开辟了一个精神上的普遍世界。这就使得“竹”在我们的生活中不仅是一种普遍的“用”，更是一种带着精神亲和力、带着自身肉身之感和人格倾向的生命温床。怎样善待自己的土地，这是自古以来所有民族的潜在的生存命题。竹子，正是东方民族解决这一命题的生动写照，是东方精神得以超越万物的核心意象。
正值中国美院九十周年校庆，民艺馆秉承以上的思考，策划“东方竹—亚洲竹艺术生活”的展览。展览分三个部分：第一部分“竹林艺谱”，潇潇竹林，观者逡巡于亚洲传统竹艺的风采之中。第二部分“竹品风神”，在迴转蜿蜒的筵席之上，今日亚洲艺者竹艺铺陈，展露风神。第三部分“竹屋栖居”，各异的竹造小品，带给我们生活而厚朴的自然栖居的境界。
东方竹，既蕴涵着我们的生生不息的生活世界，又是东方精神持续升华之无尽藏！
许 江
2018年3月28日
Oriental Bamboo World
You cannot find a Chinese who does not know about and adore bamboo. Actually most of Asians are so.
China, centralized by other continental margin plates with bamboo production including South Asia and East Asia, is the central inhabitant area of bamboo. It has been ages since this perennial lignified plant entered people’s lives in these areas. People are attracted by bamboo out of its flourishing appearance, erect, delicate and green as lakes. More so, it derives personalities, which seems to be an extended refined vision that demonstrates Chinese people’s unique outlook on grass and tree. An ancient prose says that as delicate, a slender bamboo is neither a grass nor a tree, with neither flowers nor branches. Bamboo has always long been personalized from people’s perspective, thus to be respectfully titled as “Zi”（a noble man of virtue）, just as that of many famous sages and gentlemen. Jiang You, an ancient poet living in Jin Dynasty, wrote in his prose that, a well-grown bamboo has a posture shaped by nature, a hollow body symbolizing Taoism, and a cylinder aspect containing the world. The image of bamboo has been valued as the artistic conception of Taoism in both Chinese culture and oriental classical civilization.
Su Shi, a poet living in earlier Song dynasty, also a master of both painting and writing bamboo, wrote a book named Zhilin (a prose and essay collection on what he had seen and heard during his relegation), referring to many objects besides regular natural landscapes. About bamboo, he wrote that, “eating bamboo shoots, living under bamboo tiles, travelling on bamboo rafts, cooking over bamboo sticks, wearing bamboo cloaks and shoes, and writing on bamboo paper.” In today’s wording, he describes a bamboo expo, which meets practically every basic need in daily life. Another poet wrote in his poem that, there is a family living above the river; they use green bamboos for screen, table and bed; always it smells like original bamboo flavor; this house is better than one with dazzling yellow red. In these literature works, bamboo paper is used by the mass, bamboo containers entail fine farming craft, and bamboo house is the embodiment of plain while vivid pastoral life across Asia.
Plato named his academic study as Aesthetics, which explores, in western culture, an artistic philosophy where the description of a realistic phenomenon is tend to be veritably presented through intuitional observations, thus to reach an essentializing and desirable state. In the past, an intuitional observation based on analysis and verification is always superior to other cognitive abilities in learning and distinguishing the world. However, since the world is highly informationized today, this pattern has gone forever.
What oriental aesthetics focuses more now is discovering, by clueing institution, the hidden meaning behind the realistic images. Therefore, it leaves traces filled with plain while profound poem segments, or invisible while inclusive brushworks. Bamboo, soaking in oriental aesthetics, in whole creates a massive spiritual world from individual’s inhabitancy preference to sage’s philosophy of life; from prose describing daily life to poems demonstrating profound implications. All these have elevated bamboo from everyday usage to a life carrier with spiritual affinity, sense of flesh existence and personality tendency. Bamboo, as a core image where oriental spirit surpasses the reality, is an evidence of having solved the long-existed potential question that all peoples need to be faced with—how to be kind to your land.
In celebrating the 90th anniversary of the China Academy of Art, The Crafts Museum, adhering to opinions mentioned above, planned an exhibition of “The Oriental Bamboo—Art of Living Exhibition on Asian Bamboo”. It composes three parts: The Grove of Bamboo Art, allowing visitors to appreciate traditional Asian bamboo craft in a bamboo grove; Feast of Bamboo Design, presenting skills and works of Asian craftsmen along a winding feast; House of Bamboo Life, exposing visitors in various bamboo-made opuscules to build a nature to live with.
Oriental bamboo, is both the embodiment of circling life and growth in reality, and the endless treasure of a continuous oriental spirit sublimation!
Xu Jiang
March 28, 2018
竹林艺谱
吴光荣
竹，四季常青，多年生禾本科木质。多分布于亚洲、非洲及美洲。
亚洲尤以中国为最，品种繁多，计有370多种，约占世界竹种的三分之一。
中国人喜竹、爱竹。赞美翠竹，无牡丹之富丽；也无青松之雄伟；更无桃李之妖艳。可是，它刚强正直、心虚实力。它“根生大地，渴饮甘泉，未出土时便有节。枝横云梦，叶拍苍天，及凌云处尚虚心。”在中国传统文化中，被视为“君子”的象征，以当楷模。
《诗经·卫风·淇奥》：“瞻彼淇奥，绿竹猗猗。”“瞻彼淇奥，绿竹青青。”便有对商代河南北部淇水两岸茂密竹林的自然写照。
湖北江陵雨台山楚墓出土的春秋时期的“竹笥”，其功能是用来盛米饭或装衣物的方形竹器，用以竹编，形似今日小竹箱。可证当时的先民利用竹材来编制日常生活中的用品或器具，工艺已相当成熟，也可说明中国人在三千年前就已开始加工和利用竹材了。
《竹书纪年》的出土，让后人对先秦史实有所了解，也是我们今天已知的最早出土的竹简，是中国书籍制度的早期形式之一。使得传播文化有了便捷的途径与方法，得以延续发展。
湖南马王堆汉墓中出土了大量的竹笥、竽、竽律、竹篓、竹夹、竹扇、竹熏罩、竹串、竹箸、竹席、竹勺、竹简等，都已说明汉代人对竹材的利用与加工已经非常广泛了。出土中的竹笥，形同雨台山楚墓中出土的竹笥，在利用竹材方面已有了很大的进步，由宽阔的竹片变成了竹丝。墓葬中出土的彩漆竹勺，勺柄以龙纹及辫索纹为饰，并用浮雕、透雕两种技法，它年远而精致，反映出先民们对竹材料的兴趣与利用都已达到极高的水准。
收藏在日本正仓院的唐代尺八乐器，竹制、刻留青装饰，用留青法浅雕仕女、树木、花草、禽蝶诸物象。保留其竹之表皮为花纹，刮去花纹以外之表皮，露出淡黄色竹肌为地。也可证明一千多年前，以竹为艺，已在亚洲各国之间进行文化交流了。
宋代诗人苏东坡：“宁可食无肉，不可居无竹”，更是道出了中国人对竹子的偏爱，有对物质上的需求，进而又演绎成了精神及文化上的需求。可谓是片片竹材，可展大千世界。在其后的一千多年里，“食者竹笋，庇者竹瓦，载者竹筏，炊者竹薪，衣者竹皮，书者竹纸，履者竹鞋”。深入亚洲多个角落，真是不可一日无此君也。
明清两朝，竹艺的发展更是达到了前所未有的程度。文人的参与使得竹艺形式多种多样，并提高了艺术品味。江南嘉定竹雕、竹刻的形成，代表了那个时代的竹艺辉煌。
今日亚洲各国及地区，对于竹材料都有着共同的喜好，他们在自己的生活习俗中，对竹材料的利用多有成就，并已形成各自的文化特点。
聚焦亚洲各国及地区的竹生活艺术，从学院的角度出发，将竹文化放在“东方学”的层面上，放在当代亚洲竹文化的版图中进行研究。回望过去、立足当下、展望未来，以期待大家共同探索亚洲竹艺世界的未来发展。
竹品风神
Feast of Bamboo Design 章俊杰(Zhang Junjie)
面对不断挑战的设计创新，设计师无时无刻都在自我思辨：设计应该朝后看还是朝前看。朝前看，是依赖未知领域的新技术去实现生活状态的巨变；而朝后看，历史中潮起潮落的文化智慧，正是设计隐藏的价值源泉，它让创造力能够在过去与未来之间穿行。
In the face of constant challenge of design innovation, designers are always thinking and self-reflecting: should design look backward or forward? Forward, it relies on new technologies in unknown areas to realize the great changes in living conditions. Backward, the cultural wisdom of the ebb and flow of history is the hidden source of value for design, allowing creativity to walk through the past and the future.
“竹”正是在这场思辨中的关注点，竹既是一种天然植物材料，也在规模化产业链中被加工成深入生活的大众商品。“竹”天生的特质也在人类历史中被广泛接受：它的美是浑然天成的，也是深达人心的。而“竹”，仿佛也成为了一种概念，它代表地域特征，代表普遍接受的文化观念。
"Bamboo" is precisely the focus in this speculative thinking. Bamboo is a natural material and is processed in mass production line of commonly used daily necessities. The innate qualities of "bamboo" have also been widely accepted in human history: its beauty is totally natural and deep-reaching. The "bamboo" seems to have become a concept. It represents geographical features and a generally accepted cultural concept.
“竹”的演绎往往成为设计师的恰到好处的表达方式，敏感的设计师从竹的各种维度去理解它：有的人从材质、工艺解构的角度，将其细分，精密理解，探究要素重组后可能的意义；有的人从设计美学的角度，提炼形式美感，体会使用者的感性价值；有的人从日常功用的角度，剖析材料技术，探索实用性，设计生活用品；有的人从文化语义的角度，挖掘认知与理解的反馈，建立形式意义的话语体系。
The interpretation of "bamboo" has always been the designer's proper expression. Sensitive designers understand bamboo from various dimensions: Some people subdivide it from the perspective of material and craft deconstruction to understand it precisely and explore the possible meaning of elements reconstruction; Some people see it from the perspective of design aesthetics to refine the aesthetic form and experience the emotional value of the users; Some people start from the perspective of daily function to analyze the material and technology, explore the practicality, and design life supplies; Some people proceed from the perspective of cultural semantics to research the feedback of cognition and understanding and establish a discourse system of formal meaning.
大众们开始越来越关注“竹”。“竹”成为一种身边熟悉的记忆点，成为对于美好生活的可触界面。而“竹”它总是一次次地拓展人们对它的固有印象。它从未让人失望，数千年的人类陪伴使其获得与人共感的非凡本领。它不断地被人的创新力滋养，它成为未来生活发展的多种可能性。它不仅仅在材料、技术上反复迭代，也在精神上，人文价值上给出恰当的营造。
The public began to pay more and more attention to bamboo. It has become a kind of familiar memory and a tangible interface for a better life. Bamboo always expands people's stereotype of it. It has never been disappointing. Thousands of years of human companionship have made it unique for people. It is continuously nourished by human creativity, becoming various possibilities for future life development. It is not only repeatedly iterated on materials and technology, but also provides proper creation to humanistic value and spirit.
当我们立足东方设计，看待“竹”这一非凡的事物，不禁感叹，人与周遭的关系是来自于上万年反复的博弈，人们探索、试错，思辨。设计所提倡的面对未知的态度，想必是在人的意识里，趋向正确的集体认知。而设计的目的：为了不断追求的更良好生活的未雨绸缪。它也一定建立在真实的知识经验之上所形成的预判，它是灵感，也是智慧。当智慧在人头脑中升华，才能形成恰到好处的创造。创新绝对不会是空穴来风，我们必须看待过往，将眼光拉长，这样的宽广视角下的设计既不是单一怀古，也非盲目创新。它是东方的智慧，它有自己的是非观，它是东方的人文观念下的设计理念。
When we look at oriental design and the extraordinary nature of bamboo, we can not help but notice that the relationship between man and the surrounding is from the repeated games of tens of thousands of years. People explore, try and make mistakes, and speculate. The attitude that the design promotes in the face of the unknown must presumably be in the human consciousness and tend to be the correct collective perception. And the purpose of design is to prepare for the continuous pursuit of a better life. It must also be based on the pre-judgment formed by real knowledge and practical experience. It is inspiration and wisdom. When wisdom is sublimated in people's minds, the right creation can be formed. Innovation is never groundless. We must look back at the past and extend our perspective. The design of such a wide perspective is neither merely nostalgia nor a blind innovation. It is the wisdom of the East with its own concept of right and wrong. It is the design concept under the eastern philosophy of humanity.
我们感恩竹，感恩这片土地上的这些坚强的绿色生命，它们环抱一起，为人类思维开拓了一片密林。它们给我们无穷想象的空间，也给予我们了理解这般空间的胸怀!
We are grateful for bamboos, the strong green lives on this land. They embrace each other and open up a jungle for our mind. They give us infinite imagination, and the heart to understand such an enormous space!
竹屋栖居
二十一世纪的竹材是国际设计界的新热点，意大利的竹建筑师Mauricio Laverde称之为“有机钢铁 ”。作为一种纤维强度可媲美碳纤维的天然材质，它的快速生长特点让它成为一种新兴的绿色建造材料。在环保思想流行的今日成为设计界的热门研究材料。
竹子在东方文化中的特别地位，大多来自于其悠久的文化历史。陈寅恪与李约瑟将东亚文化称为竹文化。 竹在中国人的手中，一直是超越日常使用的材料。文人对竹的特殊情怀始于各种文化器具，记载历史的书简，音律的笛箫，毛笔，画纸，纸镇等文房四宝，及衣冠都来自竹，正如苏轼所说，文人不可一日无竹之器物。
中国竹建筑的记录有山区的竹桥，竹楼，和园林中的竹亭，因其易逝性留存较少。在松江宋代的方塔园内重建的竹茶室何陋轩中，首先出现中国现代建筑师（冯纪忠）对文人建筑的重新思考：一种竹建筑的诗意建造，“非正式”的自然营造方式，挑战我们对建筑学的理解：
一 、 由森佩尔所提出的，作为“建造的诗学”的建构，在竹的柔性可编织的材料特点中得以贯彻：可编织性统一了结构与装饰间的分裂。结构，构造，材料和建造过程，成为一种“连接内在愿望与客观世界之间的桥梁”。
二、 竹造模糊了建筑与自然之间的空间界面，自然可渗透到建筑中。竹材及其所构成的建筑物，有模糊性，可渗透，轻质，易逝，和具有生命力的自然特性。与自然之间的界面进一步消融，建筑得以再次成为自然的一部分。
三、 建造具有的社会性在竹造中体现尤为清晰，特别在乡村营造中，竹材和村民充沛的自建造能力还乡村以建造自主性。相较于工业化的现代建筑，竹营造更为频繁的更替性和季节性的聚集性，使之成为更具有在地性和社会性的营造材料。
新时代的竹营造将使建筑更轻松地融入到其环境中，竹本身所具有的环保性，以及竹本身特殊构造，吸引设计师创造新的造型语言，产生新的竹材衍生品。在新竹造中出现了许多前所未有的设计表达，编织的形体，张拉力结构，捆扎和弹性的节点，以及自然材料与人造材料的进一步融合。营造本身带有的工艺性得到恢复。当代的竹营造，正趋向一种具有新鲜度的营造法式。