摘要
文章通过田野考察在收集大量研究样本的基础上,梳理了藏式图案中植物类纹样的流变以及审美意趣。认为,自新石器时代至公元10世纪之前装饰艺术中植物纹样数量极少,通常作为动物和人物纹样的辅助图形出现。从公元11世纪开始,特别是13世纪之后,植物纹样在题材样式和数量上与之前流行的几何、动物和人物纹样不相上下,植物纹样不再以辅助图形身份依附于其它类型的纹样。文章进一步从纹饰设计的视角归纳了藏式图案中植物纹样的样式、类型以及审美意趣。
Through studying a great quantity of study samples collected in field work, the evolution of the plant patterns in traditional Tibetan decorative art and the aesthetic interests of the patterns are explored in the article. It is believed that since the Neolithic age to the 10th century, plant patterns are few found in decorative art, and usually used as secondary patterns, but from the 1 lth century onwards, especially after the 13th century, plant patterns are found as many as geometric patterns, animal patterns and human figures, and no longer as secondary ones attached to other types of patterns. This article also classifies the styles and types of the plant patterns found in Tibetan decorative art, and discusses the aesthetic interest of it.
关键词
藏族传统装饰
植物纹样的流变
历史
类型研究
traditional Tibetan decoration
evolution of plant patterns
history
tyne
