摘要
法门寺地宫出土的武后绣裙上清晰地呈现了蹙金绣这一代表唐代丝织品织绣技艺之一的艺术价值,也代表了当时唐代丝织业在宫廷中的最高水平。四大名绣可以说是具有代表性的中国传统刺绣,但是蹙金绣作为一个时代的文化标志,是唐代丝织品织绣艺术最具特点的代表之一。由于工艺极其复杂以及对材质的高要求,蹙金绣在传统工艺的发展过程中逐渐消失,但蹙金绣对唐代织绣艺术研究的价值与地位永远不可替代。文章通过对传统工艺与文化品牌在市场上的调研与分析,对今后唐代传统工艺丝织衍生品在陕西的传播与传承进行探讨与总结,实现对接市场,对树立具有地方区域文化特色的代表性品牌具有重要的意义。
On the Empress Wu’s embroidery skirt unearthed from the palace of the Famen temple,it clearly presents the artistic value of frowning gold embroidery,which represents one of the silk embroidery techniques of the Tang Dynasty,and also represents the highest level of the silk weaving industry in the court of the Tang Dynasty at that time.The four famous embroidery can be said to be the representative Chinese traditional embroidery,but as a cultural symbol of the times,frowning gold embroiclery is one of the most characteristic representatives of the art of silk embroidery in Tang Dynasty.Because of the extremely complex technology and the high requirement of material,the frowning embroidery gradually disappeared in the development of traditional technology,but the value and status of the research on the art of embroidery in Tang Dynasty always played an irreplaceable role.Through the investigation and analysis of the traditional technology and cultural brand in the market,this paper discusses and summarizes the spread and inheritance of the traditional technology silk weaving derivatives in Shaanxi in Tang Dynasty in the future,and realizes the docking market.It is of great significance to establish representative brands with local regional cultural characteristics.
作者
吴桐
Wu Tong(Xi’an Peihua University,Xi’an 710000,China)
基金
“‘兴唐遗韵’唐代丝织衍生品牌设计”(S202011400033X)
关键词
传统工艺
丝织品
衍生品
文创产品
traditional technology
silk goods
derivatives
cultural and creative products