| 摘要: | 紋樣設計常見於日常生活中，小至錢幣，大至門窗柱子，都可見到紋樣的蹤影，應用十分廣泛。紋樣的種類很多，唐草只是其中的一種，大約在西元前二千年就已出現唐草的圖案。
唐草是什麼？為什麼要稱為唐草？是唐朝時代的草木設計嗎?當然不是。綜合專家學者的說法，以及歸納歷代唐草的實際圖案來看，唐草紋樣源自於西方的希臘羅馬，經由絲路傳入中國。在唐代時經由中國傳到了日本。而日本人對中國傳進來的事物喜給予一個特別的名稱：如漢織、吳服、唐墨等…。總而言之，唐草意指中國傳來的植物圖案。
唐草是種像蔓草形狀的設計，依照蔓生植物的成長狀態構成的花紋，具有連綿不斷的象徵意義。在中國它則被稱之為「卷草紋」。由於這種圖案跟佛教有相當的淵源，因此常出現在佛教的裝飾上；至於蓮花或闊葉纏繞、彎曲起伏的蔓草狀圖案，中國則稱之為「纏枝紋」。
西元718年，日本遣唐使節團來到中國，受到唐皇的接見，並獲贈大批朝服，每件朝服皆光彩奪目，極吸引日本人的眼目。次年，天皇下令，日本舉國上下開始穿仿隋唐式樣的服裝。以卷草式樣所構成的唐草纹樣之和服面料最為流行，它可分成葡萄唐草、菊唐草、牡丹唐草等纹樣。這種象徵植物生命力的紋樣，和中國本土的雲氣卷紋、龍紋、鳳紋等風格相近，因而日本學者將之歸納為唐草紋樣的一類。
除此之外，佛教界稱唐草為「寶相華」，華字即花字，寶相華即寶相花。佛教的佛陀、菩薩、羅漢座位底下都刻有蓮花的紋樣。蓮花形座為佛教畫至為常見之物，故本論文有專門探討「寶相華」紋樣的章節。
近代的商業產品，競爭極為激烈，導致商業設計需求殷切，唐草紋樣也隨之受到重視，商品上處處可見唐草的踪影。因而本論文在最後的章節中，亦論及唐草紋樣設計在現代商業界的應用，尤其是日本化粧品大廠—資生堂應用唐草最多，所以文內亦有較多篇幅論述之。
In our daily life, Decoration Pattern has been commonly applied for various design works. They can be found in a surface of coins, paper money, the panel of a door, window frames, and pillars or columns of a building etc. In accordance with different culture background, Decoration Pattern can be diversified in varied forms and styles. Botanical Pattern (also known as Arabesque Pattern) is just one of them. The earliest appearance of Decoration Pattern can be traced back to about 2000 B C.
Most scholars and experts are of the opinion that the Decoration Pattern was originally born in ancient Greece and Roman. Design concept of Decoration Pattern was introduced to China via Silk Road later, and furthermore, it was forwarded to Japan during the period of Tang dynasty, the design was in a shape of vine-like-plant. The twining, creeping stem of vine-like-plant reflects symbolization of continuous life of creatures. In China, it was also known as Curled Grass Design. Being closely connected with Buddhism, the pattern has been long term applied for religious decorations. In China, the pattern with lotus, and creeping plants design were named as Interlocking Flowers Design.
A Japanese envoy was sent to China in the year of 718. During their visit, envoys received a lot of gorgeous royal robe as the gift presented by Tang Emperor. The colorful robe immediately attracted considerable attention from all classes of Japanese society. Thereby, Japanese Emperor ordered people started to wear Tang style garments nationwide. Among all dresses, the most popular one is the Kimono in which the Curled Grass Design was printed, major design were peony, grape, or chrysanthemum. Being able to present vitality of botany, all of them had the similar nature character as some Chinese domestic designs like Cloud, Dragon, or Phoenix pattern.
Buddhists consider that Arabesque Pattern is actually so called Rosette Design. In most Buddhism status, a carved lotus exists under the seat of Buddha, Bodhisattva, or Aryan. Likewise, a lotus seat is also seen in most of Buddhism related painting. Thus, a particular chapter to describe Rosette Design and related topic is hereby presented later.
Strong competition among resent commercial product results in that requirement for cosmetic design become extremely essential. Tang Botanical Pattern attracts manufactures’ attention once again. In Japan, the design has been appearing almost in every commercial product, especially in which of the big cosmetic manufacturer, Shiseido. Comprehensive description regarding modern design of Tang Botanical Pattern, and its commercial application is introduced in chapter 7. |
