萨珊艺术东渐下狩猎纹锦艺术流变与织造技术特征  

The evolution of empire’s hunting pattern brocade during the eastwardspread of Sasanian art and its weaving technical features

作　　者：孙志芹[1] 李细珍 SUN Zhiqin;LI Xizhen(Department of Design Art,Yancheng Institute of Technology,Yancheng 214051,China)

机构地区：[1]盐城工学院设计艺术学院,江苏盐城214051

出　　处：《丝绸》2021年第9期100-109,共10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：萨珊艺术东渐对中国传统纺织技艺影响极大,狩猎纹锦的流变便是佐证之一。文章通过梳理晋代至唐代期间遗存狩猎纹锦,运用实物考证结合文献资料的研究方法,清晰呈现出狩猎纹锦的艺术流变脉络,从织物组织、图案循环方向、织造特征等方面提炼出各时期狩猎纹锦的技艺特征。研究认为:萨珊艺术东传给中国纺织品带来构图模式的革新,但由于中国工艺装饰艺术有悠久的民族性,决定了纺织纹样在与外来文化的交织中,更多是在传统的基础上吸收丰富而非代替。遗存狩猎纹锦虽在构图形式上与中亚、西亚织锦雷同,但具体纹样的技术处理则充满着浓厚的本民族传统特点。The eastward spread of Sassanian art has exerted tremendous impact on Chinese traditional textile techniques,which can be demonstrated by the evolution of hunting pattern brocade.This paper sorts out the remaining hunting brocade from Jin dynasty to Tang dynasty,and then clearly displays the context of the artistic evolution of hunting pattern brocadeby combining physical textual research with document literature,and extracts the technical features of hunting pattern brocade in different periods from the aspects of fabric weave,pattern circulation direction and weaving characteristics.It is believed that eastward spread of Sassanian art has caused the innovation of composition pattern of China’s textiles.However,the long-standing nationality of Chinese craft and decoration art determines that the textile patterns absorb the abundant foreign culture based on the tradition rather than replacement during the fusion with external culture.Despite the similarity of the remaining hunting brocade with the brocade of Central Asia and West Asia in terms of the composition form,the technical processing of specific pattern is characterized by strong national traditions.

关 键 词：萨珊艺术 波斯锦 粟特人 狩猎纹锦 织造技术 

分 类 号：TS941.12[轻工技术与工程—服装设计与工程] K876.9[历史地理—考古学及博物馆学]