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作 者:李细珍 孙志芹[1] LI Xizhen;SUN Zhiqin(School of Art&Design,Yancheng Institute of Technology,Yancheng 224002,China)
机构地区:[1]盐城工学院设计艺术学院,江苏盐城224002
出 处:《丝绸》2021年第2期93-100,共8页Journal of Silk
基 金:教育部人文社会科学研究规划基金项目(20YJA760069)。
摘 要:翼马纹样作为北朝晚期至隋唐时期典型的织物纹样,不仅反映了此时期社会的审美趣味与思想情趣,更是丝绸之路畅通时期中外文化交流的典型例证,具有较高研究价值。文章以中国北朝晚期至隋唐时期的纺织翼马纹样为研究对象,通过考古出土实物结合文献记录,对此时期出现的纺织翼马纹样的来源、发展过程及其盛行的原因进行分析。研究认为:北朝晚期至隋唐时期出现的纺织翼马纹样直接受到萨珊波斯文化的影响,但其间接根源于希腊的翼马形象。希腊的翼马纹样在传播至西亚和中亚的过程中受到双马神奈撒特耶和波斯袄教文化的影响,进行了不同程度的重塑,形成了具有萨珊波斯风格的团窠翼马纹样。之后随着丝绸技术的兴盛和粟特人的贸易活动带至中国本土,中国本土民众对翼马纹样的接受与当时特定的文化背景不无关系。As a typical fabric pattern in the Sui and Tang dynasties,the winged horse pattern is of high research value for it not only reflects the aesthetic taste and ideological interest of the society at that time,but also is a typical example of cultural exchanges between China and foreign countries when the Silk Road was unobstructed.By taking the fabric pattern of winged horse from the late Northern dynasties to Sui and Tang dynasties as the research object and combining archaeological materials and literature,this paper analyzes the origin and development process of the fabric pattern of winged horse in this period,as well as the reasons for its prevalence.The result indicate that the fabric pattern of winged horse appearing from the late Northern dynasties to Sui and Tang dynasties was directly influenced by the Sasanian Persian culture,but indirectly originated from the image of Pegasus in Greece;when it was spread to West Asia and Central Asia,it was affected by Nsatya,the god of two horses and Zoroastrianism in Persian,remodeled to varying degrees and formed a medallion pattern of winged horse with Sasanian Persian style.Later,with the prosperity of silk technology and the trade activities of Sogdian,it was brought to China.The local Chinese people’s acceptance of winged horse pattern was related to the specific cultural background at that time.
关 键 词:翼马纹样 织物 北朝至隋唐时期 发展过程 文化背景
分 类 号:TS941.12[轻工技术与工程—服装设计与工程] K892.23[历史地理—民俗学]
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