是鹿非鹿——金元时期丝织品上卧兽纹三种  

Resembling Deer but not Deer:Three Types of the Animal Patterns with Crouching Pose on Silks during the Jin and Yuan Dynasties

作　　者：茅惠伟 郑巨欣 Mao Huiwei;Zheng Juxin

机构地区：[1]中国美术学院 [2]浙江纺织服装职业技术学院

出　　处：《艺术设计研究》2023年第5期37-43,共7页Art & Design Research

基　　金：2022年度教育部人文社会科学研究规划基金项目“元代丝绸图案设计及其工艺文化交流研究”(项目序号:22YJA760059)的阶段性成果。

摘　　要：金元时期丝织品上常见卧兽纹,除了鹿纹,其他似鹿非鹿的纹样少有人探讨。本文在系统梳理多件金元时期卧兽纹丝绸文物及同期其他工艺品和图像资料的基础上,依据卧兽的不同形态,将其细分为卧鹿纹、甪端纹、卧兽望天体纹。其中卧鹿纹的流行,是基于草原民族对鹿纹的偏爱,鹿本身蕴含了多元的吉祥寓意。甪端因具有政治伦理的内涵,而为草原统治者所乐于吸收并推广应用。而卧兽望天体纹又可细分为外来的杰然望天体纹和源自中原的犀牛望月纹,两者在多元文化背景下传播,并出现了流变和发展,这亦是丝绸作为文化载体的意义所在。The type of animal patterns with crouching pose on silks is common during the Jin and Yuan Dynasties.Apart from the deer patterns,there were few studies on the kind of patterns resembling deer but not deer.On the basis of systematically sorting out of silks with animal patterns with crouching pose dur-ing the Jin and Yuan Dynasties,as well as other handicrafts and image materials of the same period,they can be divided into three categories:deer,Lu duan and animal looking at moon or sun.The popularity of deer patterns is based on the preference of grassland ethnic groups for deer,and the deer itself contains multiple auspicious meanings.Due to its political and ethical connotations,Lu duan was readily absorbed and promoted by grassland rulers.The significance of silk as a cultural carrier lies in the dissemination,transformation,and development of western Djeiran patterns and rhinoceros from China in a multicultural context.

关 键 词：卧鹿 甪端 杰然 犀牛望月 流变发展 

分 类 号：J523[艺术—艺术设计] J18