摘要
通过查阅古籍文献资料中多种“有翼神兽”特征的描述,并将其与北京服装学院民族服饰博物馆MFB9736唐代半臂藏品中的纹样进行比对,判断出该藏品中的“有翼神兽”纹样称谓为“飞廉”。唐代纺织品装饰中所见“有翼神兽”纹样种类包括中国本土“飞廉”纹、外来“格里芬”纹与“森木鹿”纹,以及最为常见的“翼马”纹、“翼鹿”纹等。而随着中外文化的不断交融发展,中国本土的“飞廉”有翼神兽纹样逐渐被外来文化中的“有翼神兽”纹所替代并逐渐消失,并且典型的外来“格里芬”纹与“森木鹿”纹也并没有成为唐代的主流纹样,反而最为常见的“有翼神兽”纹样造型则是抛弃了传统有翼神兽“多种动物形象组合”的特征,只见单一动物形象与羽翼组合方式的“翼马”纹、“翼鹿”纹等。无论是中国本土的“飞廉”有翼神兽纹还是外来的有翼神兽“格里芬”纹与“森木鹿”纹,终究没有成为唐代装饰艺术中的主流。本文探究其现象背后的原因,主要与中国传统文化中有翼神兽“飞廉”的功能、唐代道教求道升仙观念的削弱与养生观念的提升,以及唐统治者对于外来艺术的接受态度与取舍有直接的关系。
The“winged chimera”is an ancient art theme worldwide,and it has a different name and image under different cultures.In ancient China,the“winged chimera”was initially a common theme in stone sculptures and bronzes in tombs.It was first seen as a pattern appearing in textile decoration in the Eastern Han Dynasty.As for the“winged chimera”pattern of the MFB9736 collection,the half-sleeved shirt of the Tang Dynasty collected by Ethnic Costume Museum,Beijing Institute of Fashion Technology,it was determined to be called“Fei Lian”according to the Chinese ancient literature about the image description of a variety of“winged chimeras”.In the historical development of Chinese arts and crafts,the image of Chinese“Fei Lian”evolved from the Western Zhou Dynasty to the Tang Dynasty due to the continuous infiltration of foreign culture.In this process,the“Fei Lian”pattern image of MFB9736 collection was formed,but it is almost an isolated example in the whole Tang textile decoration pattern system.Most of the textiles in the Tang Dynasty adopted the patterns of“winged horse”,“winged deer”,etc.which were composed of a single animal and wings with exotic styles,or the patterns of“Griffin”and“Senmurv”of“winged chimeras”from foreign cultures.In addition,in the context of the multicultural integration of the Tang Dynasty,neither did the“Fei Lian”pattern originated from the local,nor did the foreign“Griffin”pattern and“Senmurv”pattern become the mainstream pattern in the decorative art theme of the Tang Dynasty.Instead,the“winged horse”pattern and“winged deer”pattern,etc.which were composed of a single animal and wings in an exotic style seemed to be more accepted by the Tang people.Based on this phenomenon,it is of great academic value to study the patterns of“winged chimeras”in the textiles of the Tang Dynasty.After using the observation method of image data to sort out the evolution process of the winged chimera“Fei Lian”pattern image in Chinese history,and then using the analysis method of ancient literature data and combining with the image data left over from history to analyze the function of“Fei Lian”in Chinese traditional culture and the reasons behind the acceptance and abandonment of the Chinese and foreign“winged chimera”patterns in the Tang Dynasty,we drew the following conclusions.First,the reason why the pattern of“Fei Lian”was not common or even disappeared in the textile decoration of the Tang Dynasty is related to the function of“Fei Lian”in the Taoist funeral culture.Due to the transformation of the Taoist concept of ascending immortals to the concept of health preservation in the Tang Dynasty,the“Fei Lian”that could help people“ascend immortals”could not meet the spiritual needs of the Tang people,thus losing the development space in the Tang Dynasty.Second,the winged chimera“Griffin”pattern and“Senmurv”pattern had an important position in their cultures,so for the purpose of protecting the supremacy of Chinese culture,the Tang rulers would definitely not promote these two patterns.Coupled with the emergence of“Repelling Hu people”phenomenon during the middle and late Tang Dynasty,these two patterns failed to become the mainstream of the Tang Dynasty decorative patterns.To meet the spiritual needs of Hu people in the Tang Dynasty and promote export trade,the patterns like“winged horse”and“winged deer”with exotic style appeared on the market.Moreover,the Han people in the Tang Dynasty tended to accept this kind of winged chimera aesthetically,so this type appeared more in Tang textiles.The study of the“winged chimera”pattern in textile decoration of the Tang Dynasty and the collation of relevant ancient literature and image data can not only enrich the content of traditional Chinese textile decoration patterns,but also reflect the tolerance and caution of the Tang people for their absorbing foreign culture,and the compromise attitude and method adopted by Tang people in the face of the collision of Chinese and foreign cultures from the research results of the reasons behind the acceptance and abandonment of“winged chimera”pattern theme in the Tang Dynasty.
作者
韩楚彤
贺阳
HAN Chutong;HE Yang(Art college,Beijing Institute of Fashion Technology,Beijing 100029,China;Ethnic Costume Museum,Beijing Institute of Fashion Technology,Beijing 100029,China)
出处
《丝绸》
CAS
CSCD
北大核心
2023年第6期142-150,共9页
Journal of Silk
基金
国家社会科学基金艺术学重大项目(18ZD20)
教育部服务国家特殊需求博士人才培养项目(NHFZ20190111)。
关键词
有翼神兽纹
飞廉纹
格里芬纹
森木鹿纹
纺织品纹样
唐代
winged chimera pattern
Fei Lian pattern
Griffin pattern
Senmurv pattern
textile patterns
the Tang Dynasty
作者简介
韩楚彤(1989-),女,博士研究生,研究方向为中国传统服饰设计创新;通信作者:贺阳,教授,1916867097@qq.com。
