以圖像為主要材料的蒙元服飾研究
發(fā)布時間：2018-08-25 17:33
【摘要】：公元十二世紀(jì),蒙古勢力逐漸強(qiáng)大,成為蒙古草原上五大部落之一。成吉思汗繼承汗位,通過長期的兼并爭戰(zhàn),最終統(tǒng)一了蒙古各部。公元1206年,成吉思汗建立蒙古汗國。建國后繼續(xù)對外擴(kuò)張,先后滅亡西夏、金、宋,遠(yuǎn)征中亞、西亞。至元八年(1271年),忽必烈在中原正式建國號為大元。成吉思汗建國后位傳九帝至順帝妥歡帖木兒,1368年明軍攻下大都,元朝滅亡。自成吉思汗建國至元滅,在中原地區(qū)的統(tǒng)治歷十四帝,一百六十三年,史稱蒙元。 蒙元帝國的形成實(shí)現(xiàn)了歐、亞、非三大洲的聯(lián)系和交通,使許多不同宗教信仰、不同文化背景、不同生活習(xí)俗的民族從此有了頻繁的的往來和廣泛的交流,開創(chuàng)了古代中西文化交流最繁榮的時代,同時也形成了極具特色的蒙元文化。作為最能體現(xiàn)蒙元文化的蒙元服飾,在面料、形制、種類以及服飾配飾方面,都達(dá)到了極高的水平,體現(xiàn)了多元化的特征。 蒙元時期的服飾研究在20世紀(jì)80、90年代至21世紀(jì)初取得了較大進(jìn)步,主要集中在文物考古資料的研究和一般性研究,研究方向也多偏向于服飾方面的詞義考釋,以圖像為主要材料的服飾研究較少。本文將以圖像作為主要材料,使用圖像學(xué)方法對蒙元時期的服飾進(jìn)行研究。涉及的圖像材料主要分為平面和立體兩大類,平面圖像材料包括卷軸畫、壁畫等,立體圖像材料則為雕塑或陶俑,其他可能涉及到的還有版畫或緙繡等。研究方法以圖像與文獻(xiàn)、實(shí)物交叉研究為主,對服飾進(jìn)行視覺復(fù)原,完善關(guān)于蒙元服飾的一般性研究成果。再選取具有代表性的圖像材料進(jìn)行專題性研究,并在理論研究的基礎(chǔ)上,運(yùn)用實(shí)驗(yàn)制作的方法進(jìn)行二維圖像到三維圖像的復(fù)原制作。通過本課題的研究,期望對圖像材料中的蒙元服飾進(jìn)行系統(tǒng)地梳理,并為服飾史研究方法論提供實(shí)踐。 全文共分為四章,主要包括一般性研究和專題性研究兩大部分。 第一章是對蒙元服飾研究的社會背景進(jìn)行簡單的介紹。元代是一個多民族共融的時代,文化的交流和碰撞也在服飾文化上有所體現(xiàn)。而元代實(shí)行的極具特色的民族政策也為服飾文化的發(fā)展起到了一定的推動作用。 第二章是對蒙元服飾進(jìn)行的通述和一般性研究,按照服用人群的社會地位分為民間服飾、貴族服飾兩大類,分別討論了男性和女性的服飾特征。同時還單獨(dú)討論了蒙元戎裝。并在前人的研究基礎(chǔ)上,結(jié)合史料及文物資料,利用線描的方法復(fù)原服飾形制、結(jié)構(gòu)和紋樣。 第三章是對具有代表性的圖像中的蒙元服飾進(jìn)行專題性研究,選取的樣本為元代紙本繪畫、宮廷繪畫(包括緙繡)及安西榆林窟壁畫。本章的后半部分中,筆者在理論研究的基礎(chǔ)上,對榆林窟第3窟中蒙古族男供養(yǎng)人思鐘達(dá)里太子所著服飾的款式結(jié)構(gòu)、面料色彩、配飾制作工藝進(jìn)行研究,并將前人推測與筆者觀點(diǎn)進(jìn)行比對。最后,通過實(shí)驗(yàn)制作論證觀點(diǎn)可能性,并完成復(fù)原制作。 第四章是結(jié)合前文的研究內(nèi)容,對蒙元服飾的影響進(jìn)行探討。主要討論蒙元服飾與其他北方少數(shù)民族、漢族及后世明朝服飾的異同及關(guān)系。 通過理論研究、圖像研究、視覺復(fù)原和實(shí)物復(fù)原相結(jié)合的方法,使蒙元服飾的特點(diǎn)及具體形制更加清晰,大量的視覺復(fù)原為蒙元服飾研究提供了更加直觀的認(rèn)識。
[Abstract]:In the 12th century, Mongolia became one of the five tribes on the Mongolian grassland. Genghis Khan inherited the throne of Khan and eventually unified all the Mongolian ministries through a long merger war. In 1206, Genghis Khan established the Mongolian Khanate. After the founding of the People's Republic of China, he continued to expand and perished the Western Xia, the Jin, the Song, the expedition to Central Asia and Western Asia. In 271, Kublai Khan was officially named Da Yuan in the Central Plains. Genghis Khan was successively passed on from the Ninth Emperor to the Shun Emperor Tu Huan Tie Mu Er. In 1368, the Ming army captured most of the land and the Yuan Dynasty was destroyed. From the founding of Genghis Khan to the end of the Yuan Dynasty, the reign of the Central Plains lasted for fourteen emperors. In 163, the historic name of the Mon
The formation of the Mongol-Yuan Empire realized the connection and communication among the three continents of Europe, Asia and Africa, thus enabling many different religious beliefs, different cultural backgrounds, and different customs of life to have frequent exchanges and extensive exchanges, creating the most prosperous era of cultural exchanges between ancient China and the West, and forming a unique Mongol-Yuan culture. The Mongolian and Yuan costumes, which can reflect the Mongolian and Yuan culture, have reached a very high level in fabrics, shapes, types and accessories, reflecting the characteristics of diversification.
From the 1980s to the early 21st century, the clothing research in the Mongolian and Yuan Dynasties has made great progress, mainly focusing on the research of archaeological materials and general research. The research direction is also more inclined to the meaning of clothing, and the clothing research with image as the main material is less. Methods The costumes of the Mongolian and Yuan Dynasties were studied. The image materials involved were mainly divided into plane and three-dimensional. The plane image materials included scroll paintings, murals, and so on. The three-dimensional image materials included sculpture or pottery figurines. The other possibly involved were prints or embroidery. Secondly, select representative image materials for special research, and on the basis of theoretical research, use experimental methods to restore two-dimensional images to three-dimensional images. Ornaments are systematically sorted out, and practice is provided for research methodology of costume history.
The full text is divided into four chapters, including two parts: general research and thematic research.
The first chapter is a brief introduction to the social background of the study of Mongolian and Yuan costumes.Yuan Dynasty is an era of multi-ethnic integration.Cultural exchanges and collisions are also reflected in costume culture.
The second chapter is a general and general study of the Mongolian and Yuan costumes. According to the social status of the wearers, they are divided into folk costumes and aristocratic costumes. Restore clothing shape, structure and pattern.
The third chapter is a special study of Mongolian and Yuan costumes in representative images. The selected samples are paper paintings of Yuan Dynasty, palace paintings (including embroidery) and murals of Yulin Grottoes in Anxi. In the latter part of this chapter, on the basis of theoretical research, the author studies the costumes worn by Prince Sizhongdari, the male supporter of Yulin Grottoes in Cave 3. The style structure, fabric color, accessories making technology were studied, and the predecessors'speculation was compared with the author's point of view. Finally, the feasibility of the point of view was demonstrated through experimental production, and the restoration was completed.
Chapter four is to discuss the influence of Mongolian and Yuan costumes, mainly discussing the similarities and differences between Mongolian and Yuan costumes and other northern minorities, Han and Ming Dynasty costumes.
Through the combination of theoretical research, image research, visual restoration and physical restoration, the characteristics and specific shape of Mongolian and Yuan costumes are clearer. A large number of visual restoration provides a more intuitive understanding for the study of Mongolian and Yuan costumes.
【學(xué)位授予單位】：東華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J523.5
本文編號：2203602
[Abstract]:In the 12th century, Mongolia became one of the five tribes on the Mongolian grassland. Genghis Khan inherited the throne of Khan and eventually unified all the Mongolian ministries through a long merger war. In 1206, Genghis Khan established the Mongolian Khanate. After the founding of the People's Republic of China, he continued to expand and perished the Western Xia, the Jin, the Song, the expedition to Central Asia and Western Asia. In 271, Kublai Khan was officially named Da Yuan in the Central Plains. Genghis Khan was successively passed on from the Ninth Emperor to the Shun Emperor Tu Huan Tie Mu Er. In 1368, the Ming army captured most of the land and the Yuan Dynasty was destroyed. From the founding of Genghis Khan to the end of the Yuan Dynasty, the reign of the Central Plains lasted for fourteen emperors. In 163, the historic name of the Mon
The formation of the Mongol-Yuan Empire realized the connection and communication among the three continents of Europe, Asia and Africa, thus enabling many different religious beliefs, different cultural backgrounds, and different customs of life to have frequent exchanges and extensive exchanges, creating the most prosperous era of cultural exchanges between ancient China and the West, and forming a unique Mongol-Yuan culture. The Mongolian and Yuan costumes, which can reflect the Mongolian and Yuan culture, have reached a very high level in fabrics, shapes, types and accessories, reflecting the characteristics of diversification.
From the 1980s to the early 21st century, the clothing research in the Mongolian and Yuan Dynasties has made great progress, mainly focusing on the research of archaeological materials and general research. The research direction is also more inclined to the meaning of clothing, and the clothing research with image as the main material is less. Methods The costumes of the Mongolian and Yuan Dynasties were studied. The image materials involved were mainly divided into plane and three-dimensional. The plane image materials included scroll paintings, murals, and so on. The three-dimensional image materials included sculpture or pottery figurines. The other possibly involved were prints or embroidery. Secondly, select representative image materials for special research, and on the basis of theoretical research, use experimental methods to restore two-dimensional images to three-dimensional images. Ornaments are systematically sorted out, and practice is provided for research methodology of costume history.
The full text is divided into four chapters, including two parts: general research and thematic research.
The first chapter is a brief introduction to the social background of the study of Mongolian and Yuan costumes.Yuan Dynasty is an era of multi-ethnic integration.Cultural exchanges and collisions are also reflected in costume culture.
The second chapter is a general and general study of the Mongolian and Yuan costumes. According to the social status of the wearers, they are divided into folk costumes and aristocratic costumes. Restore clothing shape, structure and pattern.
The third chapter is a special study of Mongolian and Yuan costumes in representative images. The selected samples are paper paintings of Yuan Dynasty, palace paintings (including embroidery) and murals of Yulin Grottoes in Anxi. In the latter part of this chapter, on the basis of theoretical research, the author studies the costumes worn by Prince Sizhongdari, the male supporter of Yulin Grottoes in Cave 3. The style structure, fabric color, accessories making technology were studied, and the predecessors'speculation was compared with the author's point of view. Finally, the feasibility of the point of view was demonstrated through experimental production, and the restoration was completed.
Chapter four is to discuss the influence of Mongolian and Yuan costumes, mainly discussing the similarities and differences between Mongolian and Yuan costumes and other northern minorities, Han and Ming Dynasty costumes.
Through the combination of theoretical research, image research, visual restoration and physical restoration, the characteristics and specific shape of Mongolian and Yuan costumes are clearer. A large number of visual restoration provides a more intuitive understanding for the study of Mongolian and Yuan costumes.
【學(xué)位授予單位】：東華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J523.5
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 張楠;蒙元時期女性宴飲研究[D];蘭州大學(xué);2013年
，本文編號：2203602
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