明清丝绸影响下的日本江户时代有职设计

Yuusoku design in the Edo period of Japan influenced by Ming and Qing silk

明清时期中国丝绸大量出口到日本,对江户时代复兴的有职设计产生影响,形成和汉融合的折衷设计。文章首先介绍有职织物及其纹样的形成过程、礼仪属性和文化内涵,通过研究文献与传世实物个案,分析江户时代有职设计吸纳的明清丝绸纹样、构图形式,主要织物品类及其在服装上的应用,并探究其背后的纺织技术、丝绸贸易和社会文化因素。研究有利于进一步探究明清丝绸对日传播和影响、梳理有职纹样自身的设计与发展规律,及其与中国输入源之间长期保持的互动关系,对进一步探究中国古代丝绸的对外传播和影响具有积极意义。

Yuusoku silk textiles derived from the court life in Japan since the Heian period(794-1185 A.D.),with distinctive ceremonial attributes and cultural significance,making them distinguishable from imported Chinese silk fabrics.Meanwhile,yuusoku textiles incorporate numerous weaving techniques and pattern designs inspired by ancient Chinese silks,which contributes significantly for studying ancient Sino-Japanese textile technology and cultural exchange.During the Ming and Qing Dynasties,China exported a large scale of silk fabrics to Japan,influencing the revival of yuusoku textiles in the Edo period,and eclectic designs emerged.Through comparative literature research and case studies of extant artifacts,the article analyzed the patterns and compositional forms adopted by Edo period yuusoku design from Ming and Qing silk textiles,with focus on textile varieties and their applications on costumes,and delved into the underlying textile technology,international silk trade,and socio-cultural factors.Three conclusions were drawn as follows.First,yuusoku designs in the Edo period underwent a process of assimilating and transforming Ming and Qing silk patterns.This process evolved from partial imitation to complete replacement of design elements.Some Ming and Qing silk patterns showed new cultural connotations in Japan,while some were simplified,and overall,the compositional features of Ming and Qing silks were retained.Second,during the Edo period,the yuusoku textiles that absorbed Ming and Qing silk techniques primarily included ukiori,karaori and lampas.The applications mainly encompassed Kuge costumes,Buke dresses,and Noh costumes.The utilization of one such textile labeled as the “Retired Emperor's costume” highlights that from the late 18~(th) century to the early 19~(th) century,the eclectic yuusoku textile already gained recognition and usage among the ruling class in Japan.Third,compared to Qing Dynasty patterns,Ming Dynasty silk patterns showed more significance in terms of adoption and representation by yuusoku textiles during the Edo period.The primary reasons include a preference for the social values of the Ming Dynasty over the Qing Dynasty,the artistic attributes associated with Ming Dynasty silk in Japan as opposed to the material-oriented nature of Qing Dynasty silk fabrics,and the time-delayed characteristics inherent in the adoption of foreign patterns by yuusoku textiles.In the past,research on the interaction between yuusoku textiles and ancient Chinese silk mainly focused on the Song and Liao Dynasties,with insufficient attention given to the Ming and Qing periods.This study reveals that the influence of Ming and Qing silk on yuusoku textiles persisted until the late 19~(th) century.However,by the interruption of input sources in modern periods and the impact of political and social movements including “departure from Asia” and “civilization and enlightenment”,the natural development of Japanese yuusoku patterns was subsequently disrupted.Further exploration of the preference and reconstruction of yuusoku design by adopting and reforming foreign patterns and weaving techniques,along with the eclectic designs influenced by ancient Chinese silk at different periods,constitutes an essential area for future research on the interaction between Japanese yuusoku patterns and ancient Chinese input sources.It also serves as a crucial route for studying the transmission and impact of ancient Chinese textile techniques on Japan.