继十九世纪英国的“手工艺运动”和比利时的“新艺术运动”之后,本世纪初又在法国产生了“装饰美术运动”。这一运动的发生,与当时工艺界、建筑界对历来争论不休的“装饰与功能”、“手工与机器”等一些根本问题有了较为成熟和明朗的认识是分不开的。以莫里斯为首的英国“手工艺运动”只是建构了一个理想的模式。这一运动的思想者们虽已意识到,自产业革命以来机器制品的粗滥作风到了该扭转的时候了,然而他们在实践上却走向了机器文明的反面,仅仅停留在单品化的手工制作之上。这种局限性固然是一种矮枉过正的结果,但是随着工业文明的日益完善发展,人们对手工与机器的价值观念又发生了新的变化。在对待手工与机器的态度上趋于平衡,在认识上也不再那么偏执了。紧跟着莫里斯之后,几·德·费尔德领导的“新艺术运动”就正是往这个方向努力的。尽管这一运动并没有从根本上妥善地解决装饰风格与功能与新技术相统一的问题。既注重传统艺术风格的表现,又探索适应机器生产的设计方式,同时也反映出同步发展着的抽象艺术的现代感觉……总之重新审视机器产品的现代文代意义,是法国“装饰美术运动”者们积极追求的目标。可以这样说,法国的“装饰美术运动”在其努力方向上是与德国的“包豪斯运动”相一致的,不同的是两者所侧重的,所取得的效果不一样,有着同工异曲之妙。“装饰美术运动”更注重机器产品的民族文化物质的显现;“包豪斯运动”则追求一种世界大同的恢宏气魄。本文作者海野弘先生,对于欧洲的装饰美术研究有着深厚的造诣。曾有《装饰空间论》、《新艺术运动的世界》、《视幻设计》、《空间神话学》、《世纪末的插图画家》等专著。本文以不长的篇幅,极为简洁明了地勾划出“装饰美术运动”发生的时代背景以及在世界几个大都市的发展情形。纵观装饰美术运动思潮,从本世纪初到现今,在欧美日等发达国家的工艺设计领域内虽然时起时伏,但却一直贯穿不辍。其原因就在于,随着全球性的文化寻根意识渗透到工业美术设计观念中来,对于具有某一国家、民族的历史传统特色的装饰美术也日益重视起来。装饰与功能的融合;手工与机器的并存在今天有了新的涵义。这也说明,各国工业美术发展前景的光明与否,取决于对本民族文化传统的借鉴、吸收和发扬。当然,这一问题是难以由这篇短文来全面解决的。本译文只是试图为读者了解“装饰美术运动”的大致历史情形以及与今天装饰美术思潮的联系,提供一个思考角度和素材而已。 Following the nineteenth century Britain’s “Craftsmanship Movement” and the Belgian “Art Nouveau”, the “Decorative Art Movement” was first introduced in France in the beginning of this century. The movement took place at a time when the arts and crafts industry and the construction industry were more mature and clearly aware of some fundamental issues such as “decoration and function”, “handwork and machinery” that had always been debated. . The “Craftsmanship Movement” in Britain, led by Morris, only constructed an ideal model. Although the thought-makers of this movement realized that the crudeness of mechanical products had been reversed since the Industrial Revolution, they practically went to the opposite of machine civilization and only remained on single-product manual Production above. This limitation is certainly a result of overkill, but with the continuous improvement of industrial civilization, new changes have taken place in the values ​​of handcraft and machinery. In dealing with the attitude of manual and machine tend to be balanced, in the knowledge is no longer so paranoid. Following Morris, it is in this direction that “Art Nouveau”, led by Jean De Feld. Although this movement did not fundamentally solve the decorative style and function of the new technology and the issue of unity. Not only pay attention to the performance of traditional art style, but also to explore the design methods to adapt to the production of machinery, but also reflects the simultaneous development of the contemporary art of abstract art ... ... In short, re-examine the meaning of modern products, machine culture, the French “Art Deco ”People are actively pursuing the goal. It can be said that France’s “Decorative Art Movement” is consistent with Germany’s “Bauhaus Movement” in its efforts, with the difference being that the two are focused and the results obtained are not the same, Has the same purpose of different songs. “Decorative Art Movement ” pays more attention to the appearance of national cultural material of the machine products; “Bauhaus Movement ” pursues a kind of magnificence of the world. The author of this paper, Mr. Hamano Hiroshi, has deep knowledge of the European decorative arts. There have been “decorative space theory”, “Art Nouveau world”, “visual design”, “space mythology”, “end of the century illustrator” and other monographs. This article with a short space, a very concise and concise outline of the “Decorative Art Movement ” background of the times and the development of several metropolitan areas in the world. Looking at the trend of decorative art movement, from the beginning of this century to the present day, although in the field of process design of developed countries such as Europe, the United States and Japan, it has been in vogue all the time. The reason is that as the awareness of global root-seeking has infiltrated into the concept of industrial art design, the decorative arts with the historical and traditional characteristics of a country and a nation have also been paid more and more attention. The integration of decoration and function; the coexistence of handcraft and machine has a new meaning today. This also shows that the bright future of industrial arts in various countries depends on the reference, absorption and development of the national cultural tradition. Of course, this issue is difficult to be completely resolved by this essay. This translation is only intended to provide readers with an idea of ​​the general historical situation of Decorative Art Movement and its connection with today’s trend of decorative art.