从模仿绘画到图案设计的日本近代染织艺术

Textile Art of Modern Japan: From Painting Copy to Pattern Design

日本明治中期,染织工艺的目标是把绘画作为创意的灵感来源,或作为工艺图样的摹本,并力求尽可能地把染织工艺品表现得像绘画本身一样。这种将传统的绘画性因素与外来技术密切结合所呈现出的风格,被冠以"明治格调"的称谓。然而,过分地忠实于绘画原形,势必会造成忽视工艺特点的弊病。故而工艺界开始出现了"要重视适合于工艺的图案"的呼声。"图案"1这一概念的确立,使得工艺品的制造过程分为"设计"和"加工"两个阶段,人们能够在实际加工之前的图案阶段就决定或把握作品面貌,从而使染织工艺品的制造也能够选择像近代工业一样的"分工化"途径。这种包含着现代设计内涵的"图案",在近代日本工艺美术发展史上具有划时代的意义。

Regarding painting as the inspiration of creativity or the model of design pattern was the aim of textile techniques in mid Meiji, so that textile design was represented as painting itself as possible. Therefore, Meiji Style, the combination of traditional painting and overseas skills, was named. Pattern design should be adapted to techniques was put forward in manufacture since over-copied original painting was necessarily undermined textile techniques. The concept of Pattern helped to separate design process from production process. So people could observe the overall look of the textile product in the stage of pattern design, and the manufacturing of textile product could be specified systematically as modern industry＇s division of works. Pattern, embodying modern design elements, had its significance in the process of modern Japan arts and crafts.