宋元满池娇与辽金春水织绣纹样比较研究  

Comparative Study on the Embroidery Patterns of Lotus Pond Scene

作　　者：丁子杉 向靖雯 郭丽 DING Zi-shan;XIANG Jing-wen;GUO Li(School of Fashion,Wuhan Textile University,Wuhan Hubei 430073,China)

机构地区：[1]武汉纺织大学服装学院,湖北武汉430073

出　　处：《武汉纺织大学学报》2021年第5期59-66,共8页Journal of Wuhan Textile University

基　　金：国家人文社科基金艺术学项目(17BH172).

摘　　要：满池娇是中国传统装饰纹样,曾盛极一时,与时代变革紧密相关。然至今日却鲜少人知,学界对其研究也多为溯源考据,本文针对这一问题,通过文献研究法、图文互证法和比较研究法,将宋元满池娇与辽金春水进行对比,总结二者异同,作为中国传统纹样研究的资料补充。研究表明元代满池娇纹样与宋代满池娇、辽金春水,有明显的承袭关系,而其构成元素、组合形式、织绣技法乃至文化内核也有较大区别,这与特定时期文化习俗、审美偏好、工艺水平密不可分。Lotus pond scene is a traditional Chinese decorative pattern,which was once prosperous and closely related to the change of the times.However,it is rarely known so far,and the academic research on it is mostly traceability.In view of this problem,this paper compares Manchijiao in Song and Yuan Dynasties with Chunshui in Liao and Jin Dynasties through literature research,graphic mutual authentication and comparative research,and summarizes the similarities and differences between them as a supplement to the study of traditional Chinese patterns.The research shows that the pattern of Manchijiao in the Yuan Dynasty has an obvious inheritance relationship with Manchijiao in the Song Dynasty and the spring water of Liao,Jin and Spring,and its constituent elements,combination forms,weaving embroidery techniques and even cultural core are still quite different,which is inseparable from the cultural customs,aesthetic preferences and technological level of the specific period.

关 键 词：满池娇 春水 纹样 宋辽金元 织绣 

分 类 号：TS941.12[轻工技术与工程—服装设计与工程]