“纹样”的词义变化与观念发展探究  

On the Evolution in Lexical Meaning and Conceptual Development of the Term"Pattern"

作　　者：黄清穗 韦文翔[2] Huang Qingsui;Wei Wenxiang

机构地区：[1]广西艺术学院建筑艺术学院,广西南宁530031 [2]广西艺术学院美术教育学院,广西南宁530031

出　　处：《艺术探索》2023年第5期87-92,共6页Arts Exploration

基　　金：国家社科基金艺术学重点项目“中国经典织物纹样谱系研究”(20AG009);广西高校中青年教师科研基础能力提升项目“乡村振兴战略下广西纹样基因库建设路径研究”(2022KY0458);“广西八桂学者”专项经费资助。

摘　　要：中国人是在纹身图腾或更古老的仪式中开始认识纹样的,之后在纺织品等二维平面中建立起纹样美学观。受到西方和日本等相关学术观念的影响,我国“纹样”的词义从19世纪末开始不断发生变化,纹样的美学观从二维向三维转变。如今的“纹样”词义更多地向传统性、民族性、历史性、手工性、群体性靠拢,纹样研究在兼顾美感的同时,也更注重溯源、叙事和象征。The Chinese first began to recognize patterns in totem tattoos and even more ancient rituals,and then established a pattern-based aesthetic system that applied to all two-dimensional patterns,such as those used for textiles.Influenced by Western and Japanese academic concepts,the meaning of the term"pattern"has been changing in China since the end of the 19th century,and the aesthetics of patterns have gradually shifted from two-dimensionality to three-dimensionality.Nowadays,the meaning of the term"pattern"has come closer to concepts of tradition,ethnicity,history,handicraft,and collectivity,and the study thereof pays more attention to traceability,narrative,and symbolism while also taking into account the sense of beauty.

关 键 词：纹样 图案 装饰 设计 内涵 纹样观念 

分 类 号：J522[艺术—艺术设计] H136[语言文字—汉语]