工藝理論的美學需求

On the Aesthetic Demand of Theory of Craft

由於工藝概念的游離性特徵，使得傳統工藝與現代工藝（studio craft）的身分難以被簡單界定，工藝學科與其他學科領域的邊界也無法清楚畫分。工藝一詞在不同的時代和文化背景下，所指涉的對象顯然並不相同。因此近代以來，工藝陷身於美術和設計領域的爭奪。本文說明從「工藝與美術」到「工藝與設計」之爭，此一藝術語詞的語用學發展的歷史因素和社會因素，以及工藝學和工藝美學的理論書寫有其複雜性與開創的難度，此一難度源於工藝美學一直在二元式的「藝術與技術」、「審美與實用」、「自由與依存」、「形式與機能」中擺盪。 The ionizability of the concept of craft has made the difficulty to clarify the difference of traditional craft and studio craft. It also blurred the boundary of craft, art and design. What happens here is the term “craft＂ references always not the same object in the different time and different cultures. But not only that, craft is snatched by art and design in nowadays. To survey the debate of “craft and art＂ toward “craft and design＂, we have to describe the historically pragmatic development of the term “craft＂, but not afford a nominative Aesthetics of it.