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本研究以定陵出土的丝绸文物为基础材料,又从收集的四十多份明代丝绸的出土报告中找出与宫廷丝绸相关的资料,并结合近代的传世文物进行比对与归纳分析。首先理出明代宫廷丝绸艺术的丰富内容,从中选择出代表性的龙纹、凤纹、云纹、缠枝花纹、折枝花纹与几何图案等纹样,试图从不同时期的设计特色中找出风格的变化与特征:建国之初,明代的丝绸图案设计主要还是延续元末风格;中期经济与手工业复苏后,恢复了丝绸生产的水平,因而可以见到富贵饱满的缠枝花卉织物或是图案生动的妆花织成服饰,其中小折枝团花纹在明中期十分盛行,成为明显特色;明晚期的丝绸图案设计丰富又多彩多姿,在社会的奢华风气与商品经济繁荣的带动下,丝绸设计配合需求走向多元化。
In this study, the silk relics unearthed in Dingling are taken as the basic materials, and the materials related to court silk are found out from the unearthed reports of more than 40 collected silk in Ming dynasty. And the modern relics are compared and analyzed. First of all, the court of Ming Dynasty silk art rich content, choose from the representative of the dragon, phoenix, moire, twigs, twigs and geometric patterns and other patterns, trying to find out from different periods of design characteristics of style Changes and Characteristics: At the beginning of the founding of the People’s Republic of China, the design of the silk pattern in the Ming Dynasty mainly continued the style of the late Yuan Dynasty. After the mid-term economic and handicraft industry recovers, the silk production level was restored and the wealthy and full of flower fabrics or vivid patterns In the late Ming Dynasty silk pattern design rich and colorful, in the social atmosphere of luxury and prosperity of the commodity economy, driven by the silk design with the needs of To diversify.