14、15世纪波斯细密画中的王座配套纺织品图案研究

A Study of the Textile Motifs Accompanying the Throne in the 14th-15th Century Persian Miniature

[研究意义]波斯细密画中的王座是波斯地区极具民族特色的艺术作品表现内容之一,14-15世纪波斯细密画中的王座配套纺织品上春水、秋山纹样频繁出现,为探讨原因。[研究方法]以波斯细密画图像为基础,结合文献查阅和归纳总结的研究方法,分析画中王座配套纺织品上的春水、秋山纹样的造型特征、排列布局、纹样分布、颜色材质,并在此基础上进一步分析波斯细密画中的王座配套纺织品春水秋山纹样深层次的文化特征。[研究结果与结论]研究发现:王座配套纺织品上的春水、秋山纹样造型多样、形式丰富,与织金品关系密切且多出现在政治场合;背后的意义远超其本身表现的游牧狩猎活动,对于蒙古人来说具有多重政治和文化意义,不仅是政治身份认同的象征,也是共同的民族、政治、文化共识的凝聚。

Persian miniature is a highly distinctive work of art in the Persian region, and it has gradually attracted the attention of the academic community since the last century, and the current research on miniature painting focuses on painting, technique, literature, decoration, and spatial composition. The throne is one of the common expressions in Persian miniature painting, and there is little research on this aspect and no attention to the matching textiles of the throne in the picture, while the “spring water and autumn mountain” pattern appear frequently on the matching textiles of the throne in Persian miniature painting in the 14 th-15 th centuries. The “spring water and autumn mountain” motifs originated from the hunting activities of the Khitan and Nunzin in the north, and the falcon shooting by the water in early spring and hunting in the forest in autumn were reflected in the embroidery works as “spring water and autumn mountain” pattern.In order to explore the reasons for the frequent occurrence of “spring water and autumn mountain” pattern on throne matching textiles in 14 th-15 th century Persian miniature paintings, the article analyzes the stylistic features, arrangement, pattern distribution, and color materials of “spring water and autumn mountain” pattern on throne matching textiles in the paintings based on the images of Persian miniature paintings, combined with literature review and inductive research methods, and further analyzes the On this basis, we further analyze the cultural characteristics of the spring water and autumn mountain motifs on Persian textiles that accompany the throne. The “spring water and autumn mountain” pattern have three types of shapes: waterfowl silhouette, waterfowl detailed portrayal, and multi-element combination, and the “spring water and autumn mountain” pattern have various degrees of expression, either general or detailed, which reflect the life meaning of the patterns.The arrangement of the pattern is mainly in the form of four-sided continuous and two-sided continuous, suitable for fewer patterns but are multi-element combination modeling, the overall elements are rich in vivid scenes;“spring water and autumn mountain”pattern are mostly distributed on the larger area of the seat and mattress covering the throne.The color base of the matching textiles is dominated by blue, red and green, and there are gold patterns on the woven fabrics, presenting the characteristics of dark ground woven with gold thread, presumably related to the popular weaving of gold objects at that time.At the same time, the number of scenes in which the“spring water and autumn mountain”pattern appear in the matching textiles of the throne is mostly political scenes.The throne was the exclusive seating apparatus of the emperor, and the identity and status of the emperor were intangible, which was only reflected through a tangible medium. It is particularly important to explore the connotation and aesthetic tendency of the frequent patterns of spring water and autumn mountains on the matching textiles of the throne.The political, historical and cultural backgrounds are inextricably linked to the rule of the Persian region, which was under the rule of the Ilkhanid and Timurid dynasties in the 14 th and 15 th centuries. Ilkhan Dynasty was the suzerain state of Yuan Dynasty, Timur Dynasty was split from Yuan Dynasty suzerain state, both dynasties were under the Mongol rule. The cultural connotation of the “spring water and autumn mountain” pattern is closely related to the Mongolian ethnic polity and ethnic rituals, and is a concentrated expression of Mongolian shamanism nature worship, the spirit of all things, reflecting the Mongolian aesthetic tendency of the unity of heaven and man and the harmony of nature.It is found that the “spring water and autumn mountain” pattern on the matching textiles of the throne are of various shapes and forms, and are closely related to the gold weaving and appear in political occasions;the meaning behind them goes far beyond the nomadic hunting activities they represent, and have multiple political and cultural meanings for Mongolians, not only as a symbol of political identity, but also as the cohesion of a common national, political and cultural consensus.The Innovation point of this paper lies in the discovery of the material of the throne in Persian painting and the rediscovery of the symbolic meaning of the throne in Persian painting through an innovative perspective. It is also hoped that this paper will shed light on future studies of thrones in Persian painting and provide more references and possibilities for researchers in this field.