【摘要】：蒙元時期織金錦異常風(fēng)靡,但織金錦、納石失和金段子這幾個概念�；鞛橐徽�,對這些織物的比較研究也相對缺乏。文章通過文獻(xiàn)查閱和實物分析,從詞源考證、組織結(jié)構(gòu)、紋樣風(fēng)格三方面對蒙元織金錦之納石失和金段子進(jìn)行比較分析,認(rèn)為納石失是外來織物,其組織結(jié)構(gòu)以特結(jié)型為主,也有暗夾型重組織;而金段子可視作中國傳統(tǒng)的織金錦,以單插合的地絡(luò)類為主。但因文化交融,兩者都不同程度地融合了中西方的織造技術(shù)和紋樣風(fēng)格,表現(xiàn)在組織結(jié)構(gòu)和織物圖案上互相借鑒。尤其是傳統(tǒng)金段子以掛經(jīng)形式增加一組特結(jié)經(jīng),這可能是中國自己的特結(jié)錦產(chǎn)生的主要途徑。
[Abstract]:During the period of the Mongolian and Yuan dynasties, the brocade was very popular, but the concepts of the brocade, the disharmony of the Na Shi and the gold segment were often confused, and the comparative study of these fabrics was also relatively lacking. Based on literature review and physical analysis, this paper makes a comparative analysis from three aspects of etymology, organizational structure and pattern style on the dislocations and gold segments of the gold brocade of the Mongolian and Yuan Dynasty. It is considered that the loss of the nanoliths is a foreign fabric, and its structure is dominated by a special knot type. There is also a dark clip type of heavy tissue, and the gold segment can be regarded as the traditional Chinese brocade, mainly with a single intercalation of the ground network. However, because of the blending of culture, both of them have mixed the weaving technology and pattern style of China and the West to some extent, which is reflected in the structure of the fabric and the pattern of fabric. In particular, the traditional Jin Duan adds a group of special meridians in the form of hanging sutras, which may be the main way for China's own special knot brocade to come into being.
【作者單位】： 浙江紡織服裝職業(yè)技術(shù)學(xué)院文化研究院;
【分類號】：TS106;K876.9

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