工艺美术运动

Maureen Meister
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摘要

工艺美术运动兴起于19世纪的英国,是对不断发展的工厂制度给工人带来的艰辛的回应。批评人士谴责劳工所忍受的有辱人格的工作条件,以及充斥市场的劣质商品。该运动的领导人呼吁手工业的复兴,他们认为手工制品在道德上更优越,因为它们的制作方式也更漂亮。受到中世纪的启发,工艺美术建筑师接受了哥特复兴,加入了工匠的行列,通常是在行会中,装饰和布置教堂、房屋和其他建筑。随着时间的推移,运动的领导者鼓励民族和地区传统的复兴,使用当地的材料和简单的设计。保护历史建筑也得到了支持。工艺美术运动催生了数百本书籍,其中一些是学术性的,许多是面向大众市场的。让严肃的研究人员感到困惑的是,专家们写了不少咖啡桌书,值得参考。另一个挑战是,许多关于工艺美术运动的出版物整合了建筑、室内设计和装饰艺术的研究。这些研究是值得探索的,因为许多工艺美术建筑师从事许多设计的表现形式,从瓷砖和彩色玻璃到陶器和印刷。然而,另一个挑战是对什么是艺术和工艺建筑缺乏明确的认识。英国的威廉·莫里斯和他的圈子所宣扬的观点构成了这场运动的公认基础。它在英国的繁荣是文学的中心,而艺术和工艺思想向美国的传播早已得到认可。一些研究考察了工艺美术概念对欧洲大陆运动的影响,如维也纳分离派和新艺术运动;然而,建筑历史学家通常认为这些发展是独特的,并不直接将它们置于工艺美术的保护伞下。大多数研究美国工艺美术建筑的作者都考察了特定的地区和特定的建筑师。其他人则写了20世纪初流行的各种艺术和工艺风格。一些作家记录了与艺术和工艺建筑师合作的工匠,而其他人则探索了花园设计中的艺术和工艺主题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Arts and Crafts Movement
The Arts and Crafts movement emerged in 19th-century England in response to the hardships imposed on workers under a growing factory system. Critics denounced the degrading conditions that labor endured as well as the shoddy quality of goods flooding the market. Calling for a revival of handicraft, the movement’s leaders argued that handcrafted wares were morally superior because of the way they were created and also more beautiful. Inspired by the Middle Ages, Arts and Crafts architects embraced the Gothic revival, joining craftsmen, often in guilds, to ornament and furnish churches, houses, and other buildings. Over time, leaders in the movement encouraged revivals of national and regional traditions, the use of local materials, and simple designs. Preservation of historic buildings also was championed. The Arts and Crafts movement has spawned hundreds of books, some academic and many directed to the popular market. To confuse matters for the serious researcher, more than a few coffee table books have been written by experts and should be consulted. Another challenge is the fact that many publications on the Arts and Crafts movement integrate studies of architecture, interior design, and the decorative arts. These studies are worth exploring as many Arts and Crafts architects were engaged in many manifestations of design, ranging from tile and stained glass to pottery and printing. Yet another challenge is the lack of clarity about what is considered Arts and Crafts architecture. The views promulgated by England’s William Morris and his circle form an accepted basis for the movement. Its flowering in Great Britain is central to the literature, while the transmission of Arts and Crafts ideas to the United States has long been recognized. The influence of Arts and Crafts concepts to movements on the Continent, such as the Viennese Secession and Art Nouveau, is examined in some studies; however, architectural historians usually treat these developments as distinctive and do not position them directly under the Arts and Crafts umbrella. Most authors on American Arts and Crafts architecture have examined particular regions and specific architects. Others have written about various Arts and Crafts styles that took hold at the turn of the 20th century. A few writers have documented the craftsmen who collaborated with the Arts and Crafts architects while others have explored Arts and Crafts themes in garden design.
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