丝绸之路视域下唐代纺织品中鸟衔花纹样的起源与形式流变

The origin and form evolution of birds-hooking-flowers patterns in textiles of the Tang Dynasty from the perspective of the Silk Road

文章以唐代纺织品中的鸟衔花纹样为研究对象,通过历史文献与考古实物等资料对其溯源。梳理丝绸之路打通后西方鸟衔花纹样的传播,并分析其传入唐代后的形式演变。研究表明,唐代纺织品中的鸟衔花纹样因受到了西方含绶鸟纹样题材、纬线显花织造技术等因素影响而形成。并经历了模仿、改造、定型三个发展阶段,完成从呆板程式向传神自由转变的本土化进程,该纹样在唐代的演变可进一步细分为“团窠对鸟”和“足踏花台”的双线发展模式。

As a traditional pattern in China,the birds-hooking-flowers pattern was widely used in all kinds of textiles in the Tang Dynasty.And thanks to the the Silk Road,the Tang Dynasty communicated frequently with other countries,so that distinctive arts and cultures,technology and crafts were spread to the Central Plains from eastern areas,which had influence on the emergence and evolution of fabrics with birds-hooking-flowers patterns.On the basis of collating archaeological objects and combing through historical documents,this paper made a comparison between the birds-hooking-flowers patterns in the Tang Dynasty textiles and other crafts with birds-hooking-flowers patterns in Central and Eastern Asian for origin tracing.Moreover,the paper explored the changes by longitudinal comparison and analysis of local birds-hooking-flowers patterned fabrics of the Tang Dynasty.This paper drew three main conclusions.Firstly,the birds-hooking-flowers patterns in textiles of the Tang Dynasty were formed under the influence of the Western beribboned bird pattern and the weft pattern weaving technology.Secondly,the birds-hooking-flowers patterns in textiles of the Tang Dynasty showed the evolution process of imitation,innovation and finalization.The patterns showed a stylistic change from dullness to liveliness throughout the whole Tang Dynasty:(ⅰ) the first stage of the development of birds-hooking-flowers patterns was influenced a lot from the Sassanid Persian style,and it was the imitation stage of birds-hooking-flowers patterns for the absorption.And the patterns showed as a dull pair of birds standing on the platform composed with flowers or pearl-linked patterns.Besides,the external part was usually decorated with the pearl-linked skeleton roundel;(ⅱ) during the period of prime Tang Dynasty to middle Tang Dynasty,the birds in the birds-hooking-flowers patterns were mostly Chinese native ones,with things in their beaks being a symbol of the good wishes.In the aspect of composition,the early skeleton boundaries were gradually broken through and the birds showed the dynamic style of flying up high;(ⅲ) from the late Tang Dynasty to the Five Dynasties,the patterns experienced the evolution of localization.The birds-hooking-flowers patterns often showed the combination of a winged bird and a S-shaped long-stemmed twig,which had the similar traits with the bird-and-flower paintings of the same period.Thirdly,the evolution of the birds-hooking-flowers patterns in the Tang Dynasty textiles can be divided into the development patterns of the bird surrounded by pearl-roundel and the bird standing on the platform.The form of the former was influenced by Ling Yang Gong sample,so that the pattern retained the appearance of the roundel skeleton,and pearl-linked motifs were replaced by plant motifs.Later,the skeleton became non-closed circular trajectory to imitate the previous skeleton.The latter pattern was gradually manifested by a single flying bird hooking a twig.And the bird increasingly broke through the boundaries of the flower platform and presented the dynamic posture.Furthermore,the proportion of plant elements increased a lot in the whole pattern,which reflected the aesthetic idea of placement of the landscape.This paper systematically collects,collates and analyzes the textiles decorated with birds-hooking-flowers patterns in the Tang Dynasty.And from the perspective of the Silk Road,it traces the source of the motifs,weaving techniques and cultural origins,and explores the changes in the form.The paper gives a view to filling the gap in the study of the birds-hooking-flowers patterns in textiles of the Tang Dynasty.