作品名

Furumai 和之振舞

作者名

陈 颢文

制作年份
2019
指导教授
板东 孝明
作品简介
在日语中，“立居振舞”指日常生活中最基本的动作。而我所关注的，是其中的“振舞”这一概念——它更像是一种经过训练后形成的、带有秩序与美感的动作。”振“指身体的动作与发生，”舞“则包含被形式化与审美化的运动。两者的结合，使“振舞”超越了单纯的动作，成为一种在文化中被规范、并能够被他者识别的“动作形式”。这一汉字组合的使用，引发了我对“身体动作如何被感知与理解”的思考。在茶道、能乐、武道等日本传统文化中，身体动作被不断简化与提炼，留下的是克制而具有仪式感的表达。这种“动作之美”不仅关乎形式，也隐含着对“道”的遵循，以及对自然与万物的感知。心理物理学家古纳·约翰松曾暗室灯泡实验表明，人类可以从极少的信息中识别出生物运动（biological motion）；而包豪斯剧场大师奥斯卡·施伦默的舞台表演与乌尔姆造型学院的创始人之一马克斯·比尔对几何结构的探究，让我开始从另一角度去理解身体——它可以被看作是在空间中运动的几何结构。基于这些观察，我尝试把“动作”当作一种可以被拆解的对象：将其分解为点、线、面，并通过不同的变形与重组，去观察动作如何被转译为一种具有符号性的视觉语言。就如人类会通过动作进行识别与记忆，文化中的符号性，或许正是以这样的方式被不断生成和延续的。
Title

Furumai

Artist

Haowen Chen

Year
2019
Supervising
Takaaki Bando
Description
In Japanese, tachii-furumai refers to everyday actions and manners. I focus on furumai—movement shaped through training, carrying a sense of order and aesthetic refinement. The characters are telling: fu (振) suggests bodily motion, while mai (舞) implies movement that is formalized and aestheticized. Together, furumai becomes more than action—it is a culturally structured form of movement that can be recognized by others. In practices such as tea ceremony, Noh, and martial arts, movements are reduced and refined into restrained, ritualized forms. The perceptual psychologist Gunnar Johansson showed that humans can recognize biological motion from minimal information, while Oskar Schlemmer and Max Bill approached the body as a geometric structure in motion. Based on this, I deconstruct movement into points, lines, and planes, exploring how it can be transformed into a visual language. As we perceive and remember others through movement, cultural symbolism may emerge through this process.
作品名／Title

Furumai 和之振舞
Furumai

作者名／Artist

陈 颢文
Haowen Chen

制作年份／Year
2019
指导教授／Supervising
板东 孝明／Takaaki Bando
作品简介
在日语中，“立居振舞”指日常生活中最基本的动作。而我所关注的，是其中的“振舞”这一概念——它更像是一种经过训练后形成的、带有秩序与美感的动作。”振“指身体的动作与发生，”舞“则包含被形式化与审美化的运动。两者的结合，使“振舞”超越了单纯的动作，成为一种在文化中被规范、并能够被他者识别的“动作形式”。这一汉字组合的使用，引发了我对“身体动作如何被感知与理解”的思考。在茶道、能乐、武道等日本传统文化中，身体动作被不断简化与提炼，留下的是克制而具有仪式感的表达。这种“动作之美”不仅关乎形式，也隐含着对“道”的遵循，以及对自然与万物的感知。心理物理学家古纳·约翰松曾暗室灯泡实验表明，人类可以从极少的信息中识别出生物运动（biological motion）；而包豪斯剧场大师奥斯卡·施伦默的舞台表演与乌尔姆造型学院的创始人之一马克斯·比尔对几何结构的探究，让我开始从另一角度去理解身体——它可以被看作是在空间中运动的几何结构。基于这些观察，我尝试把“动作”当作一种可以被拆解的对象：将其分解为点、线、面，并通过不同的变形与重组，去观察动作如何被转译为一种具有符号性的视觉语言。就如人类会通过动作进行识别与记忆，文化中的符号性，或许正是以这样的方式被不断生成和延续的。
Description
In Japanese, tachii-furumai refers to everyday actions and manners. I focus on furumai—movement shaped through training, carrying a sense of order and aesthetic refinement. The characters are telling: fu (振) suggests bodily motion, while mai (舞) implies movement that is formalized and aestheticized. Together, furumai becomes more than action—it is a culturally structured form of movement that can be recognized by others. In practices such as tea ceremony, Noh, and martial arts, movements are reduced and refined into restrained, ritualized forms. The perceptual psychologist Gunnar Johansson showed that humans can recognize biological motion from minimal information, while Oskar Schlemmer and Max Bill approached the body as a geometric structure in motion. Based on this, I deconstruct movement into points, lines, and planes, exploring how it can be transformed into a visual language. As we perceive and remember others through movement, cultural symbolism may emerge through this process.