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摘 要：What is the influence of Mono no aware on interior design？ "Thing" refers to all things in nature， and "sorrow" refers to sadness. Seeing the sadness， seeing the scenery and feeling the same sorrow with me is the most intuitive understanding of "thing sorrow". The three special forms of artistic beauty Mono no aware， emptiness and leisure， are connected with each other in spirit， which greatly expands the internal aesthetic concept of the Japanese nation and the depth of its artistic expression. The light sadness and the real beauty blend together to create a sad and beautiful lyric world。
關键词：material sorrow; interior design; aesthetics
Chapter I：The influence of Mono no aware on interior design
1.1 the influence of Mono no aware on furniture design
Japan's physical mourning aesthetics has been spread so far， in fact， it is a combination of Nordic style， no longer the control of pure physical mourning aesthetics over the interior. This kind of jumping out objects has not only form， but also the idea of design based on practical function， which is also the beauty of silence independent of aesthetic itself. In addition， Japanese home design also shows the designer's consideration of rational use of resources： a philosophy of rational use of resources in order to restrain， compromise and step back， in the face of consumers who have been trapped by the self-consciousness of various commodities for a long time， and to export the "world's reasonable value"， etc.
1.2 the influence of Mono no aware on flower arrangement art and display objects
There are different schools of ikebana in Japan， or they are born out of three traditional ikebana or influenced by it. But the exploration of natural beauty， the slender sensibility to plants， is unchanged. The largest and oldest flower path in Japan is the ikebana stream formed in the middle and late 15th century. Its rise is closely related to the introduction of Buddhism. So the way of flowers， that is， "things sad" the way of nature. This school places people's understanding of the beauty of nature on flower materials， making them reappear wild interest and expressing their own essence. In today's Japan， flower arrangement is more integrated into the daily life. It is no longer a ceremony with the highest sense of form. What matters more is the mood and thoughts of the person arranging flowers， rather than the utensils， places and flowers. It is a thin 100-page book， which elegantly expresses the author's understanding of the differences between eastern and western cultures， especially the aesthetic and design concepts. Generally speaking， the pursuit of Japanese aesthetics is sombre beauty， that is， the cultural characteristics that are not directly expressed. The aesthetic consciousness of wabi-sabi is sombre and dead， that is， it cannot be fully fulfilled， and it tries to convey its consciousness with roughness and sorrow. Therefore， in the design of Japanese instruments， we prefer to replace the bright surface with the fog surface. Even echo can't complete enough "lack" attitude. Chapter II：he influence of Mono no aware on soft cloth design
Japanese soft cloth art design has always brought a kind of beauty out of vulgarity to people. The so-called beauty out of vulgarity here is not simply to get rid of the secular world， not to eat fireworks between people， but to let the tired body and mind purify for a short time， and then return to the daily world with the fresh "I". To get rid of vulgarity is the wish of ordinary people to get pure vulgarity at this moment. At present， the Japanese soft cloth design integrates the Nordic style， reflecting a simple and simple beauty， which is also the "None" of Zen. It seems that there is no elaborate work， but there is simple and clumsy plain beauty.
Chapter III： Summary
To sum up， material sorrow is not decadent. Its essence is to advocate that people should cherish all things and be good at feeling， appreciating， praising and regretting beauty. They often see the sadness after falling when they are most gorgeous. Therefore， there is a kind of material sorrow. It advocates that no matter what people deal with， they should be moved when they encounter something that should be moved， and they can understand the moving heart， which is "knowing the sorrow of things". But those who encounter things that should be touched， but are insensitive and have no heart to move， that is， people who do not know material sorrow and have no heart or lung.
The tale of Genji wrote a scene like this in the volume of the Dharma： at this time， purple was very weak. However， being thin increased its beauty. In the evening， the autumn wind was bleak， and the purple leaned on the dwarf table to see the flowers and trees in front of the court. He sang a song： "the autumn wind is coming， and the dew on the silver leaves is going to dissipate." "The dew in the world will dissipate soon after all.
Love is actually a lover， so-called "unity of characters". Whether it's seeing things and thinking about people， or characters with sadness， are similar emotions.
Reference：
[1] Yang Tao， Wang Zhuyi. Interior design of learning space based on environmental psychology [J]. Design， 2018 （01）： 132-133
[2] Qiu Haidong， Fu Hongliu. The design idea of Gestalt meaning downward -- Taking interior design thinking and decorative material application as an example [J]. Design， 2018 （01）： 139-141
[3] Huang Sheng. Classroom innovation and teaching reflection of interior design based on Internet [J]. Jiangxi building materials， 2018 （03）： 208 + 211
[4] Wang Kui. Transformation of teaching concept and innovation of teaching thinking in interior design [J]. Jiangxi building materials， 2018 （03）： 229 + 233[5] Zhao Qianhong. Practice of housing interior design curriculum reform based on work process systematization [J]. Journal of Tianjin Vocational College， 2017 （12）： 92-96
關键词：material sorrow; interior design; aesthetics
Chapter I：The influence of Mono no aware on interior design
1.1 the influence of Mono no aware on furniture design
Japan's physical mourning aesthetics has been spread so far， in fact， it is a combination of Nordic style， no longer the control of pure physical mourning aesthetics over the interior. This kind of jumping out objects has not only form， but also the idea of design based on practical function， which is also the beauty of silence independent of aesthetic itself. In addition， Japanese home design also shows the designer's consideration of rational use of resources： a philosophy of rational use of resources in order to restrain， compromise and step back， in the face of consumers who have been trapped by the self-consciousness of various commodities for a long time， and to export the "world's reasonable value"， etc.
1.2 the influence of Mono no aware on flower arrangement art and display objects
There are different schools of ikebana in Japan， or they are born out of three traditional ikebana or influenced by it. But the exploration of natural beauty， the slender sensibility to plants， is unchanged. The largest and oldest flower path in Japan is the ikebana stream formed in the middle and late 15th century. Its rise is closely related to the introduction of Buddhism. So the way of flowers， that is， "things sad" the way of nature. This school places people's understanding of the beauty of nature on flower materials， making them reappear wild interest and expressing their own essence. In today's Japan， flower arrangement is more integrated into the daily life. It is no longer a ceremony with the highest sense of form. What matters more is the mood and thoughts of the person arranging flowers， rather than the utensils， places and flowers. It is a thin 100-page book， which elegantly expresses the author's understanding of the differences between eastern and western cultures， especially the aesthetic and design concepts. Generally speaking， the pursuit of Japanese aesthetics is sombre beauty， that is， the cultural characteristics that are not directly expressed. The aesthetic consciousness of wabi-sabi is sombre and dead， that is， it cannot be fully fulfilled， and it tries to convey its consciousness with roughness and sorrow. Therefore， in the design of Japanese instruments， we prefer to replace the bright surface with the fog surface. Even echo can't complete enough "lack" attitude. Chapter II：he influence of Mono no aware on soft cloth design
Japanese soft cloth art design has always brought a kind of beauty out of vulgarity to people. The so-called beauty out of vulgarity here is not simply to get rid of the secular world， not to eat fireworks between people， but to let the tired body and mind purify for a short time， and then return to the daily world with the fresh "I". To get rid of vulgarity is the wish of ordinary people to get pure vulgarity at this moment. At present， the Japanese soft cloth design integrates the Nordic style， reflecting a simple and simple beauty， which is also the "None" of Zen. It seems that there is no elaborate work， but there is simple and clumsy plain beauty.
Chapter III： Summary
To sum up， material sorrow is not decadent. Its essence is to advocate that people should cherish all things and be good at feeling， appreciating， praising and regretting beauty. They often see the sadness after falling when they are most gorgeous. Therefore， there is a kind of material sorrow. It advocates that no matter what people deal with， they should be moved when they encounter something that should be moved， and they can understand the moving heart， which is "knowing the sorrow of things". But those who encounter things that should be touched， but are insensitive and have no heart to move， that is， people who do not know material sorrow and have no heart or lung.
The tale of Genji wrote a scene like this in the volume of the Dharma： at this time， purple was very weak. However， being thin increased its beauty. In the evening， the autumn wind was bleak， and the purple leaned on the dwarf table to see the flowers and trees in front of the court. He sang a song： "the autumn wind is coming， and the dew on the silver leaves is going to dissipate." "The dew in the world will dissipate soon after all.
Love is actually a lover， so-called "unity of characters". Whether it's seeing things and thinking about people， or characters with sadness， are similar emotions.
Reference：
[1] Yang Tao， Wang Zhuyi. Interior design of learning space based on environmental psychology [J]. Design， 2018 （01）： 132-133
[2] Qiu Haidong， Fu Hongliu. The design idea of Gestalt meaning downward -- Taking interior design thinking and decorative material application as an example [J]. Design， 2018 （01）： 139-141
[3] Huang Sheng. Classroom innovation and teaching reflection of interior design based on Internet [J]. Jiangxi building materials， 2018 （03）： 208 + 211
[4] Wang Kui. Transformation of teaching concept and innovation of teaching thinking in interior design [J]. Jiangxi building materials， 2018 （03）： 229 + 233[5] Zhao Qianhong. Practice of housing interior design curriculum reform based on work process systematization [J]. Journal of Tianjin Vocational College， 2017 （12）： 92-96