从中国平面文化的形成看鸱吻的造型演变

Approaching the Pattern Evolvement on Chi Wen from the Composition of the Chinese Plane Culture

文章结合中国玉石的传统加工设计过程,阐述了在以轮廓为主体的观念下中国平面文化的独特魅力。针对中国平面文化这种由外向内的设计特点,文章从分析鸱吻造型演变的原因入手,认为鸱吻的早期造型主要是古人出于立面构图的需要,在动物崇拜的观念下从自然元素中提取出的一种角状装饰物,起初并无深刻内涵,在"述而不作,信而好古"思想的影响下,结合古文献的记载和当时的流行文化主题使鸱吻的含义日益丰富,从而相应地使鸱吻的造型在基本轮廓不变的情况下,从抽象发展为具象,最终形成了它成熟的艺术形象。

The paper expounds the distinctive charm of the Chinese plane culture based on the traditional process of jade. In view of the design feature of from-outside-to-inside, the purpose of this paper is to analyze the reason for the evolving on Chi Wen. It is concluded that the early pattern about Chi Wen is a requirement for the elevation organization and the horn-shaped thing that at either end of the roof ridge as an ornament is extracted from the nature on account of the animal worship. In the early times, the pattern had no profound connotation, but under the idea of “A transmitter and not a maker, believing in and loving the ancients”, combining with the historical documents and the spirit of the times, the meaning of the pattern of Chi Wen enriched gradually, moreover it evolved from abstract to concrete and finally formed the mature image almost within the same outline.