唐宋时期纺织品中绶带鸟组合图案的构成与寓意

The Composition and Implication of the Pattern of Silk Ribbon Bird in Textiles of Tang and Song Dynasties

[研究意义]在丝绸之路沿线纺织品图案研究中,绶带鸟图案是一种明显具有外来文化气质的图案,一些专家学者在相关论文著作中均有提及,但将绶带鸟组合图案作为研究主体分析其构成与寓意的研究相对较少。[研究方法]文章采用图像分析法,以搜集到的唐宋时期纺织品上的绶带鸟图案为基础,对构成绶带鸟主体的禽鸟图案和绶带图案进行分类,进而结合相关文献考证。[研究结果与结论]研究认为:从唐代早期到宋辽时期绶带鸟组合图案的主体鸟类图案从最初的五色鸟、长尾鸟转变成凤鸟、孔雀、大雁。绶带的形式也从最初的嘴部联珠璎珞、颈部穗状绶带演变成嘴部衔的盘带状绶带和同心结。总体趋势表现为绶带鸟组合图案与各地方装饰流行风格结合,萨珊元素的退化,成为更具综合性的图案形式。

In the research on textile patterns along the silk road, the ribbon bird pattern is a kind of pattern with the obviously foreign cultural feature. Some experts and scholars have mentioned it in relevant papers, but very few studies have focused on the ribbon bird pattern to analyze its composition and implication. In this paper, bird patterns and ribbon patterns are classified under the image analysis method. And this study has combined the bird patterns on textiles from Tang and Song dynasties with relevant literature research. It concluded that the bird patterns from the early Tang dynasty to the Song and Liao dynasties changed from the original five-color birds and long-tailed birds into phoenixes, peacocks and wild geese.Ribbons also changed from the original form of bead wreaths and spiked ribbons into strips and knots. Moreover, the ribbon bird design with fewer sassanian elements incorporated the local popular adornment style and gradually became a more comprehensive pattern.