南北方扎经染色织造技艺与艺术风格差异研究——以海南黎族绞缬染锦与新疆维吾尔族艾德莱斯绸为例  

Study on the Differences in Warp-Resist Dyeing and Weaving Techniques,as well as Artistic Styles Between the Northern and Southern Regions:Take the Hainan Li Tie-Dye Brocade and the Xinjiang Uyghur Atlas Silk as Examples

作　　者：周莹[1] 王野 许靖熙 Zhou Ying;Wang Ye;Xu Jingxi

机构地区：[1]中央民族大学美术学院

出　　处：《艺术设计研究》2024年第5期34-40,共7页Art & Design Research

基　　金：国家社科基金重大项目“中国古代北方民族服饰文化融合及中华文化认同实证研究”(项目编号:19ZDA183)的阶段性成果。

摘　　要：扎经染色织造技艺在我国有着悠远的历史,其在满足人们物质、审美、精神等多方面需求的同时,也呈现出文化的交流与融合。海南黎族绞缬染锦与新疆艾德莱斯绸均运用到了扎经染色织造技艺,在不同地域与文化背景中,二者既体现出相同技艺的类似之处,又有着较大的差别。本文从比较分析的研究视角,基于对两地扎经染色织造技艺的考察,从其技艺源流发展谈起,重点就二者在制作技艺以及织物风格方面的异同进行梳理,探索它们所包含的文化意义与民族文化精神。The warp-resist dyeing and weaving technique boasts a rich historical background in China,satisfying diverse material,aesthetic,and spiritual requirements of the populace.It also serves as a testament to cultural exchanges and integrations.Notably,both the Hainan Li tie-dye brocade and the Xinjiang Atlas silk employ this intricate technique.Despite their shared foundation,they manifest distinct similarities and discrepancies in their application within various regions and cultural milieus.This paper adopts a comparative analytical framework to delve into the developmental trajectory and evolution of the warp-resist dyeing and weaving techniques in both regions.It focuses on the similarities and differences in their production methodologies and textile styles,exploring the cultural significance and ethnic spirit embodied within these crafts.

关 键 词：扎经染色 黎锦 绞缬染锦 维吾尔族 艾德莱斯 

分 类 号：J523[艺术—艺术设计]