紋飾(pattern)常被應用於設計領域中，既用在器物上，也用在家具與建築中。隨著全球化趨勢與中國經濟快速成長，使中國成為許多產業與產品的新興市場。產品也因應此需求而走向中國風。而中國風格的形塑不應只靠器物，應靠家具與空間氛圍共同形成。本研究擬釐清明清時期1.咕嘟器(器物類代表)、家具與建築中有哪些共用之抽象紋飾?2.這些應用於上述領域 之紋飾有哪些共同處與相異處?3.咕嘟器、家具與建築中紋飾是否存在交互流通的關係?本研 究以國立故宮博物院所藏明清時期之咕嘟器及同時期之家具與建築中之抽象紋飾為主要研究對象。主要研究結果為:1.咕嘟器、家具與建築中共用之抽象紋飾為雲紋、要龍紋、回紋、卷草紋、獸面紋與市字紋;2.上述紋飾之異同處; 3.咕嘟器、家具與建築中抽象紋飾具交互流通 的關f系。其他衍生結果詳述於結論中。

Designers usually apply patterns to diverse practical fields. With world globalization and the rapid growth of the Chinese economy， China is an emerging market of various industries and products. Yet， creating a Chinese style should not solely depend on utensils. Designers should also take furniture and spatial atmosphere into account. This study focuses on the following questions: 1. Whatare the frequent patterns used in enamels (representing utensils)， furniture， and architecture during the Ming and Qing Dynasties? 2. Matsimilarities and differences do these patterns show? 3. Do these patterns have an interconnecting relationship between them? This study investigates the enamel patterns of the Ming and Qing Dynasties of the National Palace Museum (NPM)as well as furniture， and architecture patterns in the same periods. After systematic analyses and discussions， the main results are as follows: 1. Enamels， furniture， and architecture share the cloud-， gue-dragon-， scroll(卷草)-，回-shape，獸面-shape， and 卐-shapepatterns; 2. The above mentioned patterns share similarities and differences; 3. Patterns used in enamels， furniture， and architecture have an interconnecting relationship. The remaining results are woven into this paper.