摩竭纹“鱼龙化”的演变及其应用

Evolution and application of“dragon like fish”of Makara

为梳理摩竭纹的演变历史,以摩竭纹4个时期的演变过程为研究对象,通过文献、图像资料探究摩竭纹“鱼龙化”的演变特征,总结不同时期摩竭纹演变发展的原因。得出摩竭纹在传入期是“本源化”形象的保留,且使用范围小,题材均与宗教有一定的关系;转变期和发展期摩竭纹首部逐渐融入其他动物的部分特征,身体呈现“鱼化”而后“龙化”,且使用范围扩大,题材呈现出多样化;没落期摩竭纹逐渐消失。摩竭纹的演变与其所处时期的审美形式密不可分,而摩竭纹在没落期的消失是由于不同时期下新的审美元素的融入以及“本源化”形象的过度转变。最后根据摩竭纹“鱼龙化”的纹样特征,通过形状文法重新组合的方式将摩竭纹应用于丝巾图案设计。摩竭纹的再利用不仅丰富了纹样的传承载体,而且为传统纹样在服饰产品中的应用提供设计思路。

In order to examine Makara′s evolution history,this article selected Makara′s four period evolution processes as research object.By reading literature and image data,it explored Makara′s“dragon like fish”evolution feature to summarize the reasons for the evolution of Makara in different periods.The results of the study found that Makara was the“principalization”image reservation in the early period,with a small range of use,and a religion related theme.In the transition period and the development period,the head of Makara had been integrated into features of other animals gradually.Makara′s body presented“dragon like fish”.Its range of use began to expand,and its subject was diverse at this period.In the decline period,Makara disappeared gradually.The evolution of Makara is inseparable from the aesthetic form of its period.Makara′s disappearance is caused by the integration of new aesthetic elements in different periods and the transition of“principalization”image.Finaliy,according to its pattern feature,it appiled Makara to the design of silk scarf pattern by re-combining shapes and tabs.The reuse of Makara not only enriches pattern′s inheritance carrier,but also provides design ideas for traditional pattern applications in apparel products.