中國繩結 藝術的源流 《易繫辭》上說 :「上古結繩而治。」漢鄭玄周易注稱:「大事大結其繩,小事小結其繩。」可見,在文字未發明之前,人已用繩來記錄事情。繩結也就是文字的前身,表現了生民對事物最原始、最忠實的印象。難怪乎老子後來也感嘆地希望恢復以前結繩記事的純樸年代。

根據河南安陽縣發掘出來的石刻像上的髮飾,可知繩結發展最遲至西周時代,已由代表符號應用到日 常生活上。日常所見如轎子、窗簾、劍飾、扇墜、衣著、帳、香包、書畫掛軸等等,均有編織美觀的裝 飾結子,有些更有吉祥的含意。因著繩結的廣泛運用,繩藝的技術亦愈加精細。到了清代,更可說已達爐 火純青的境地,式樣多變,且各有名目,蘊含不同意思,這時,繩結可說已成為一種藝術品。可是,隨著 清末民初西方觀念和科學技術的大量東來,我國原有的社會形態及生活模式也起了重大變化,編織繩結這 種費時的技藝亦逐漸式微。

其實,中國繩結除了實用價值外,更是傳達情意的最佳信物,而繩結和文字的出現,除了用作記事外, 便是要表達這些纏繞心底的思緒。一個小小的結子,其細緻心思,正好包含了最含蓄溫柔的情意及關懷。 在梁武帝詩詞中便有這兩句 :「腰間雙綺帶、夢為同心結。」可見得繩結藝術其實是融合了化不開的浪漫 濃情。唐朝教坊樂曲,更加有「同心結」這一詞牌名,頗富羅曼蒂克的氣氛。中國結的取意如其他中國藝 術般多利用自然形態、諧音而取其意,如用吉字結、馨結及魚結,結合就成為“吉慶有餘”的組合結,以 “蝙蝠結”加上“金錢結”,可組成“福在眼前”等。也有做衣服的盤扣。

現在的中國繩結則是由我在廿多年前開始,加入了西洋結的組合,將繩結設計成女仕身上的飾物, 例如髮夾、胸針、手鐲及項鍊,令繩結變得千變萬化,趣味無窮 !

   

 

   

   




  


     

 

   

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