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萨珊波斯的联珠纹图案在中国的演变与发展是一个传承与创新的过程,联珠纹在隋唐已经形成了它本土化改变的浪潮,从最初的颇具萨珊风格代表性的联珠猪头纹中夸张、简洁的图案,到盛唐时期宝相花的艳丽、繁复。造型、结构、主题这一系列的改变,展现了隋唐对多文化环境氛围在本土共存的宽容态度,同时将它们与本土文化相互融合创作。联珠纹作为一种重要的图案因素,出现并流行于魏晋南北朝至隋唐时期,在中国纹样史上具有其独特的意义。联珠纹的兴衰与隋唐的文化政治背景紧密联系,是当时中西方文化交流的疏密写照。
Sasan Persian’s pearl pattern in China’s evolution and development is a process of inheritance and innovation, the United bead pattern in the Sui and Tang Dynasties has formed its wave of localization change, from the very Sassan style representative of the first joint Zhuzhu pig Exaggeration in the pattern, simple pattern, to the Tang Dynasty Po-phase flower colorful, complicated. The series of changes in shape, structure and theme show the tolerant attitude of the multicultural environment in the local coexistence of the Sui and Tang dynasties and at the same time they are integrated with the native culture. As an important pattern factor, Lianzhu pattern appeared and prevailed in the Wei, Jin, Northern and Southern Dynasties to Sui and Tang dynasties, and had its unique significance in the history of Chinese patterns. The rise and fall of Lianzhu pattern was closely linked with the cultural and political backgrounds of the Sui and Tang dynasties, and was a portrayal of the cultural exchange between China and the West at that time.